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206 o o o o arco o o o o o o f f f f f

212 NEW ZEALAND SCHOOL OF MUSIC | TE KŌKĪ GUIDE TO MUSIC NOTATION 2019 o o o o o o o o o o o o f f ff f ff f

218 o pizz. ff ff

224

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Extract from Jack Body’s Three Transcriptions for . © 2015 Wai-te-ata Music Press, reproduced by permission. NZSM GUIDE TO MUSIC NOTATION 2018 Updated 21 February 2018, Michael Norris

INTRODUCTION: WHY THIS GUIDE? Imagine that you’re at the first rehearsal of a new orchestral work you’ve just spent the last five months writing. Your new creation is about to come to life for the first time. But just before the conductor gives the downbeat, a hand goes up in the flutes: “Um, there are too many notes in bar 7!”. Then another hand in the : “When am I supposed to move to arco playing?”. Soon, half a dozen hands have gone up, all querying ambiguities and errors in their parts. Pretty soon, instead of rehearsing your piece, 20 minutes has been spent correcting the errors and fixing the ambiguities. In fact, the conductor stops the rehearsal and tells you to go and fix your . I cannot stress enough how much you want to avoid this scenario. In a recent survey of a NZ community , 90% of players said that having a well-notated part is an important factor in their willingness to play a new work, compared with only 10% who said knowing the composer was important, 50% who said being asked to make ‘sounds they liked’ was important, and 70% who said having the work written with the available rehearsal time in mind was important. To make matters worse, music notation software such as or will rarely correct notation errors, and will play back poorly notated music without complaint, giving you a completely false sense of security. The advice contained in this guide is a distillation of the fundamentals of professional notational practice. It will, if followed, make your first rehearsal a joy rather than a nightmare. It sets out notational advice gleaned from more than 20 years’ experience in composing, performing, sitting through rehearsals, and grading hundreds of compositions. I wrote this guide for anyone who wants to reach a professional level of composing for performers. Whether for concert hall or film scoring stage, you need to know how to notate music in the most efficient and practical way possible. If you’re serious about composing, start collecting model scores. I recommend any scores by Faber Music, or any of the new Wai-te-ata Music Press editions. For more information on typesetting, you should read Elaine Gould’s Behind Bars, a ‘bible’ for those who want to go beyond the basic information here. — MN

PRESENTATION BASICS

HANDWRITING vs TYPESETTING — Scores must be either neatly handwritten and photocopied or computer typeset. — Do not mix handwriting and computer typesetting on the same score. — Handwritten scores will only be accepted as a photocopy. Do NOT submit originals: NO PENCIL OR BIRO on your submitted assignment — these will NOT be marked. — For handwritten scores, it’s best to use a thin, black, felt-nibbed pen. — For computer-set scores, use dedicated professional typesetting software such as Sibelius, or Finale; programs such as Cubase, Logic, Noteflight, ScoreCloud, Crescendo etc, often look amateurish and/or cannot achieve more advanced notational standards. — For printing, use a good-quality laser printer, not an inkjet. Good-quality, double-siding laser printers can be had for under $100 these days — check pricespy.co.nz

REQUIRED ELEMENTS — Title in large type, top centre (a real title, not just ‘CMPO 101 Minor Assignment 1’) — Your name, top right (if an arrangement, write ‘Claude Debussy arr. Joe Bloggs’) — For coursework, you must state the course title and assignment name (e.g. CMPO 101 Minor Assignment 1 — this can be at the bottom of the page, or on a separate title page) — Date of composition/orchestration, which can be part of a © notice if appropriate — /Time indication: All works must indicate some kind of ‘time scale’, normally by using a metronome mark ( =80) with optional descriptor (Moderato). Never use: ‘84 BPM’, or C q — Ensure the metronome mark matches the : i.e. in 2/4, 3/4, 4/4, etc, the metronome mark will be , but in compound time (e.g. 6/8) the mark will be q= q = — If using proportional/time-space notation, the duration of sections must be clearly. marked. Use extenders or beam extensions to differentiate sustained from short notes.

NZSM Guide to Music Notation 2018 1 Title and instrumentation

Composer’s name Tempo marking and MM Three Canzonettas for and DOUGLAS LILBURN Semplice (q = c.66) con sord.                     p       I pizz.                                                   p dolce   sim.               

6                                                                                             

11                                                                                                      

16                                  mf                                                                               ( 2nd time) (2nd time) mf pp

22 1. 2.                         p                                                                              © Copyright 2015 Alexander Turnbull Library Extract from Douglas Lilburn Three Canzonettas © Wai-te-ata Music Press. Reproduced with permission. Copyright notice & date NZSM Guide to Music Notation 2018 2 SUBMISSION FORMAT FOR SCORES

MAJOR ASSIGNMENTS — Double-sided, A4 portrait, spiral-bound. — Include a title page with title, instrumentation, your name and course code on it. — Works for large may require larger paper (e.g. A3) to be legible. — Ensure you choose a large enough binding coil, so that page turns will be easy and quiet. (There’s nothing worse than a squeaky score!)

MINOR ASSIGNMENTS — Double-sided, A4 portrait, stapled in the top left- hand corner. — A title page is not required. — For some courses, a different submission format may be required.

PREFACE PAGES You may also need to include a preface page(s) before the music, if any of the following apply: — Your piece is a major assignment: please include a short programme note. — Your piece is for orchestra or non-standard ensemble: provide a full list of instruments (including a full list of any percussion used, and a list of all instrument doublings). — You have written for any transposing instruments: indicate whether the score is transposed or at on the preface page(s) (NB: it really should be transposed). — You have non-standard/unusual techniques, unusual notation, instrumental ‘preparations’, or special lighting/sound/staging requirements: include a page of performance notes. — If practical, however, it’s better to put short performance notes on the score and parts rather than in a preface, as performers tend not to read prefaces. E.g. you could write ‘sempre senza vib.’ on the score/parts, rather than ‘This piece should be played without ’ in the preface. Having said that, avoid long paragraphs of text on the score as well. — If you are using unusual to indicate an , it’s always good to write the instruction above the noteheads as well (e.g. ‘breath only’, ’key clicks’, etc.). — Most extended techniques have a relatively standardised notation. Don’t invent new notation just for the sake of it. Look at the scores of composers such as Lachenmann, Ferneyhough, Pesson, Adámek, Sciarrino, Crumb, Saariaho for examples of fairly standard notational practice. — The litmus test of clear and unambiguous notation is: can the performer reproduce the desired effect from the score without you needing to be there to explain it?

NZSM Guide to Music Notation 2018 3 SUBMISSION FORMAT FOR PARTS Unless specifically instructed, you do not need to submit parts. If you are required to submit parts, however, please submit as paper-clipped, single-sided A4 sheets.

TRANSPOSING INSTRUMENTS If you have written for any (e.g. piccolo, alto/bass flute, , , , , , , ), the following applies: — Scores should be written transposed (i.e. with transposing instruments appearing the same in the score as in their parts). In Sibelius, choose Notes → Transposing Score (shift-cmd-T). — If your piece is not in a clear major/minor key, use the Atonal setting in Sibelius, which uses accidentals instead of key signatures to do the transposition. — Horns should always be transposed using accidentals rather than key signatures.

STAFF NAMES For solo pieces, no staff names should appear. Instead, the instrument should be marked as part of the title text (e.g. Monologue for solo clarinet). See the Appendix for an example. For orchestral parts (except multi-instrument percussion parts) the staff name should appear at the top-left of the first page, and thereafter in the top-middle. Percussion parts with multiple instruments should have staff names. See the Appendix for an example. For duos, trios and standard quartets, staff names appear only on the first system. See the Appendix for an example. For larger ensembles and orchestral scores, staff names should always appear with the full name on the first system and abbreviations thereafter.

SCORE LAYOUT Staves and bars should be evenly laid out and evenly distributed. As a general rule, you should have between 3–7 bars per system, and bar widths shouldn’t vary wildly. Systems should also be distributed evenly on the page, without any large gaps between them. There should be a sense of balance in the page — you may need to manually change the spacing to achieve this. For solo pieces, you should aim for 6–8 systems per page. For small chamber ensembles, aim for 3–4 systems per page. For large ensemble pieces, 1–2 systems per page. Orchestral scores are usually 1 system per page. Don’t leave mysterious empty bars at the end of the piece. Avoid collisions — e.g. dynamics under one staff colliding with notes on top of another.

STAFF ORDER Most ensembles have a ‘correct order’ of instruments from top to bottom. If the score is incorrectly ordered, the conductor/performers can get quite confused and may ask you to rewrite it. NB: if you use the ‘ensemble presets’ in Sibelius/Finale, the staff order should be correct, but if you add instruments in manually, these can appear in the wrong order. Orchestral staff order — (from top to bottom) piccolo, flutes, , cor anglais, , , , contrabassoon, horns, , , bass , , , percussion, harp, , violins, , , double basses All other ensembles follow orchestral staff order, except the following: — For small ensembles with piano (i.e. sextet or smaller): piano always appears on the bottom — For brass quintet, brass band or concert band: trumpets/ appear above horn — For concert band: clarinets and saxophones appear below the bassoons, and percussion appears at the bottom — For wind quintet: flute, oboe, clarinet, horn, — For small ensemble with voice: voice goes on top if no piano, or above the piano if there is.

NZSM Guide to Music Notation 2018 4 HANDWRITTEN SCORES Don’t use pencil or biro for your final copy. Rule all barlines and beams. Beams should be thicker than stems. Don’t make your noteheads too big (or too small). Compare with other good examples. Don’t use those horrible manuscript notepads for ringbinders. I recommend you use a custom-made computer-set blank scoreNine as your manuscript Short paper. Pieces FONTS DOUGLAS LILBURN h = Usec.69 the standard music font of your notation software (Opus or Engraver), unless you’re composing jazz charts, in which case the ‘handwriting' font is fairly standard. Times Use a standard ‘body-text’ serif font for all text (titles, staff names, expressions) such as Times , New Roman, Plantin, Century Schoolbook,mp Garamond, Palatinosf, or Caslon. Some sans-serif fontsmp are OK, mf f although non-standard. NEVER use an ugly ornamental font like Comic Sans, even if you think it 1 looks cool! pp STAFF SIZE Solo/duo works or ensemble/orchestral parts should have a staff size of 6–7 mm (6.3–6.6 mm is 7 excellent, though I find 7mm too large). Parts should be comfortably readable at arm’s length.f Quartets & quintets are often best with a 5.3–5.8mm staff size, so you can fit 3–4 systems per page. Orchestral or large ensemble scores are best with a staff size of 4.5–5.0mm. mp mf f If you can only fit one or two bars per system, usually that means the staff sizes are too large. You ought to be able to fit 3–7 bars per system, depending on the complexity of the music. This staff size = 6.3mm pp (good for solo works) Note: 5 bars per system 13 Phantasy for String Quartet mf f mp sf Based on the air “Westron Wynde” (c.1500) Westron Wynde when wilt thou blow? pp The small rain down doth rain. Christ, that my love were in my arms This18 staff size = 5.3mm And I in my bed again. (good for ensembles) ff Note:DOUGLAS 6 bars per system LILBURN Moderato (q = c.58) con sord. f mf Violin I mp sf pp pizz. Violin II (pp) p con sord. 23 p Viola sf pp pizz. f sf mp p Extracts from Douglas Lilburn Nine Short Pieces and Douglas Lilburn Phantasy, © Wai-te-ata Music Press. Usedpp with NZSM Guide to Music Notation 2018 5 28 7 poco rit. A tempo ff pp p mp p p p p

13 A sf f p mf p

© Copyright 2015 Alexander Turnbull Library SETTING DEFAULTS IN SIBELIUS

Sibelius’s default settings do not always confirm NZSM’s preferred typesetting practices. You can set it to meet the guidelines, however, by making the following changes to the settings:

Layout Appearance Click the disclosure arrow under ‘Document Setup’ to edit the Document layout. Engraving Rules Accidentals and dots Staff size (CHECK) Prefer top accidental at right Try the following starting sizes, then reduce or (UNCHECK) Restate accidental when note is enlarge as necessary: tied across a system break — 6.3mm for solo work

— 5.8mm for quartet Articulation — 5.6mm for quintet Position of articulations when near the stem: — 4.6mm for orchestra Center all on stem Vertical Position: Allow ‘always above’ Page margins articulations to be flipped below Same, Left pages: 15 (top), 12 (left), 12 (right), 15 (bottom). For orchestral scores, top and Beams and stems bottom margins can be reduced. (CHECK) Beam over rests Staff margins: 35 (top), 8 (bottom). After first (CHECK) Break secondary beams page, 8 (top), 8 (bottom) — NB: the 35 may need to be tweaked so that the gap between systems on the first page matches those on Clefs subsequent pages. (CHECK) Reset accidentals to current key Full names: 15 (may need to be increased for signature on change long instrument names)

Short names: 5 (may need to be increased) Instruments No names: 2 (UNCHECK) Draw left separator

Spaces Between Lines Change to: Staves: 7 / Systems: 15 Small aperture: 1 spaces Press: Reset Space Above, Reset Space Below Large aperture: 1.5 spaces Tweak these sizes so that you get a nice even spread of systems across the pages, with the gaps between systems being noticeably larger Staves than the gaps between staves. Staff line width: 0.13 (CHECK) Justify both staves of grand staff Text instruments Click the disclosure arrow under ‘Styles’ to edit the following text styles: Time signatures: Gap before time signatures: 0.41 spaces Main Text Font: Times New Roman (NB: if you already have music entered, you : Font: Times New Roman, Style: italic will need to Reset Note Spacing after changing this) Title Text Vertical Posn: Snap to top margin, 5mm Notations Then select and press Reset Position Click the disclosure arrow under ‘Lines’ Composer (straight) Font: Times New Roman 10pt/9pt Width: 0.2 spaces Vertical Posn: Snap to top margin, 20mm Centred Text: delete

NZSM Guide to Music Notation 2018 6 ” “” “” œ. œ. “ œ œ œ œ œ--œ œ. . . œ œ œ --. LOCATION OF MUSICAL ELEMENTS œ œ œ œ œ œ œ œ œ œ & & & & Tempo marking is Tempo markings and rehearsal marks ” ” . . “” “ œ œ œ --beneath. staffAllegro“ q=120 œ œ .... œ œ œ œ .... Tempo markings (including rits and accels) alwaysœ go above the . œ œ. œ œ œ œ œ œ œ. . >˙ œ œœœœœœœœœ--œ. .œ.>˙ j staff (for grand staff instruments, above theœ top staff only). In œ œ œ œ œœ Œ ‰ & & û & & && & œ œ œ Sibelius, use Tempo Text for tempo markings” (opt-cmd-T), which Allegro” ” pizz >œ > >>” should. be bold. and with a metronome“” “marking. œ œ . “. . “” “ œ œ œ --. “ œ œ œ œ œ--œ œ Allegroœpizz. q=120œ pp œ œ œ œ For full scores, tempo markings and rehearsal marks only need to œ . œ œ . œ œ œ œ. œ œ. œ....œ œ œ œ . > œ....œœœœ œœœ œ.œ--œj>œ. œ œ. œ œ j > ™ j > ™œ œ œ--œ œ go above the woodwinds and strings. œ œ œ. ˙ Œ œ‰œ œ. ˙œ ™ œ œj œ ™ œ œ œ & & & & ü && œ œ >>œ & & œŒ œ ‰ &œ œ & œ œ & Allegro > > pizzcresc.œ œ f>> pp f ” “” œ > >“” Techniques Allegro. q=120pizz.œ. “ pp Techniqueœ fœ œ --is beneathœ. staffAllegro q=120 œ pp > ™ œ œ œ Techniques,.... such as arco, pizz, sul pont and.... 8va symbols, go above ...... ™ j> ™ œ œ ....>œ ™ œ --. œ œ œ œ œ œ œ. . >˙ œ œŒœœœ œ œ œ.‰ . >˙j œ œ œ œ&œœœ™ œ œjœœœœœœ œ.jœ. >˙ & ™ jœ œ ∑œ œœœœœœœ.œ.œ>˙& ∑ j the staff they refer to.œ In Sibelius, use Technique& Textœ œ (ctrl/cmd-T)œœ û & œŒ œ ‰ œ & œ œ œ Œ ‰ œ & va vb & > >>& & Ly -& fricsœ œ pp&& f & œ Allegrofor techniques and choose 8 /8 from Lines (L).> These markings Allegrocresc.pizz œ œ >> pizz œ œ >> should not be italicized. ” ” “”> > > . œ. “ “ pp œ œ œf œ --œ. > pizz.œ ™ œ œ Allegropizz. q=120 ” “” œ “” . pp. ™ j > œ. œ œœ.œ --. “ pp œ œ œ œ--œ œ. œ œ œ œ œ &œ....œœœ œ œ>œœ .™œ. œ> œ & œ....œ œ œ>∑œ œœ™ .œ.œ>œ & . ∑ > ™ œ œ> ™ . j ™ j œœ œœ˙ ™Œœ jœ œ‰œœœj˙ œ œ. œ œ ™ j œj œ ™ œ j œœœ--œœœ &&Œ ‰ œ œ& && œ Ly œ &-œ rics ü&&œ &œ œ œ œ && œŒ œ ‰œ œ œ & œ œ œ Expressionsœ œ >> Allegro & œ œ >>& pizz œ&œ f>> & > > cresc. f pp> > f cresc.> > pp f vb Allegro q=120 Dynamicpp markings, f hairpins and 8 symbolspizz. go below the staff pp f they refer.... to. You must use the correct bold ....font for dynamics: e.g. pp Allegro q=120 œ œ œ œ œ œ œ. ™. >˙ œ œ œ œ œ œ œ. . >˙ > ™ j™ ™ p mf™ f. In jSibelius,> œ useœ œExpression Text (ctrl/cmd-E) for dynamicjœ œ....™™œŒ œ œjœj> ‰œ. œ. œ>œ œ ™œ....œ œjœ>œ∑œ .œ. > ∑ &&markings, andœ holdœ the Command or& Ctrl& keyŒ down while∑ ‰ entering.œ œ û&&& ∑œœ œœœœ œœ ˙ && œ œ œ œ œ ˙ & j œAllegro œ œ œ pizz œ œ >> œ Œ ‰ œ Ly - rics > >> & Ly >- > frics Wrong dynamic& ppfont f & œ œ > Allegrocresc. pizz œ > >> pizz. pppp f > Dynamic above> staff,™™ and pizz. > ™ pp j ™ ™wrongj jfonts> usedœ œ ™ j œ œ ™ ™ & Œ œ ‰ œ œ && œ œœ œ œ œ ü && œ œ ∑œ j & ™ ∑j > ™ j > œ >> œ f ppŒ ‰ f œ œ œ œ œ œ œ > > Lycresc. - rics & œ œ & œ œ & œ œ œ >> f pp f pp f > > cresc. ™ j > ™ pp f & œ œ œ œ œ & ∑ & ∑j > ™ For vocal parts, however, expressions should go above the staff to ™ œ œ œ ∑ ∑ avoidLy colliding- withrics the . ü & œ œ & & Ly - rics

7 7 mp mp > > > – – #˙ #˙ #>˙ #˙ œ œ For ‘grand staff’ instruments (e.g. piano, harp, marimba), œ œœ œ œ œœ œ bœ bœ œ œ bœŒÓŒÓ expressions go between the two staves if they apply to both; && && && #œ #œ bœœ mp œ œ œ otherwise put them above the right hand or below the left hand. û www ü mp www °° {???{???ww w {{ ww w {{ ∑ ∑ ‘mp’ only seems to apply mp 7 7 7 to right hand > – – > – mp #˙7 œ œ #˙ œ > > œ œ œ œ – œ œ bœ œ ŒÓ #˙ #˙ & &&bœ bœ#œ #œ bœ&bœŒÓŒÓ & #œ œbœ œ œ œ œ bœ œ œœ œ œŒÓmp œ & & & #œ œbœ mp ww œ ww ° Pedal markings go below the bottom staff.w w û{???{?w{°? { ∑ w { ∑ {???ww { ww { ∑ ∑ Ped. marking should be °°7 beneath bottom staff – 7 œ – bœ œ ŒÓ œ & #œ œbœ bœ œ bœ ŒÓ œ & œ#œ œ ü {? ∑ {? ∑ ° °

NZSM Guide to Music Notation 2018 7 BEAMING & RHYTHMIC NOTATION 3 Beaming is the general term given to notating in a way that is easy to read, and the locations of the beats are visually obvious. Performers rightly expect good beaming and get very grumpy if you do not notate it correctly. Music notation packages do not check your beaming for you: it’s very easy to get it wrong, and the default is often incorrect. This is simply something you have to do manually. > > & œ Œ ‰ œ Œ & œ Œ ‰ œ–Œ mf> JBeat 3 is hidden mf>— J 3 by the minim There are three main elements to good beaming practice: 3 a) Don’t hide beats: notes and rests that cross over a > should > > > be divided up using ties so that the locations of theŒ primary‰ œbeatsŒ of j -Œ ‰ -œ Œj j - - j & œ û & œœ—˙ œ –œ œ œ™ œ œ œ 3 a bar are immediately visible. mf> J & mf.> > J . & . >J . & œ f>Œ ‰ œ Œ & œ— f>Œ ‰ œ–Œ mf> J mf> J 3 > j > jŒ ‰ œ Œj >- Œj ‰ >œ Œ ˙- &-œ ü œ &œ -œ – 3 & œ œmf> œ &J œ> ™ mfœ>— jœ j J>j j . . > &j œ. ˙ œJ œj œ .œ œ j -œ œ œ Ó j f> œ Œ ‰ œ Œ f>˙- œœ- Œ ™ ‰ >œ Œ™ œ œ œ- & J & œ. & — œ. J&– œ. ™ J œ. mf> > > f> mf> > > f> & œ Œ ‰ œ Œj - &- œ j Œ ‰ œ–jŒ - - j J œ ˙ œ —œ Jœ œ™ œ œ œ mf> & . j j mf>j. j & . J . & œ ˙ œ >f>œ œ œ œ œ œ œ Ó > f> There are exceptions to this: semibreves on beat 1; minimsj - on ™beats - ™ j& j - j j - jj j ∑ 1 or 3; dotted minims on beats 1 or 2; and: ˙ œ ü œ œ œ Ó > & œ. &œ. œ ˙>&œ œ. œ™™œ œJœ™ œœ. œ œ a) a minim on beat 2 (as long as it’sj not- tied) f>- j j - f> - j œ ˙ œ œ œ jœ™ j œ œj œ j b) a dotted crotchet on beat& 1 or 3 . . ü& . J . Ó f> & œ ˙ œ œf>™ œ œ œ™ These∑ œ patternsœ œ are OK, c) a dotted crotchet on the offbeat& of beat 1 or 3 j j j evenj though they hide ü Óthe beat ∑ d) a crotchet on the offbeat of beat 1 or 3. & œ ˙ œ œ&™ œ œ œ™ œ œ œ j j j j ü Ó & œ ˙ œ &œ™ œ œ œ™ œ œ œ ∑ ≈ ≈ Beats≈ ≈ are≈ not beamed≈ ≈ ≈ & & œ œ œ œ œ togetherœ∑ œ œ œ & œ. œ. œ. œ. œ. œ. œ. œ. œ.

& ∑ b) Beam notes within a beat& togetherœ ≈ œ ≈: beamsœ œ œ ≈ should≈ œ ≈ connectœ œ ≈ œ ≈û & rœ œœœ œ œ œ≈ œ œ œœœœœ œ œ œ œœœ œ notes that fall within the same beat, even if there is a rest between & œ .‰ . œ. œ. ≈. ≈. œ.œ. . ≈ & œ‰ œœ≈ ≈œœ ≈ them. R R R NB: Sibelius incorrectly breaks beams if a rest occurs between notes. Use the beam group tools tor make‰ œ it look≈œ like≈ theœ bottomœœ≈ œ ü ‰ œ ≈œ≈ œœœ≈œ example. & œ R œœ R œœ R & œ œœ œœ

Don’t use rests to make notes short

c) Use dots instead of rests: short notes can be made û easier to read by using a staccato dot instead of a rest. & œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ.

œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ ü œrœ œ œ œ ≈œœ œ œ œœœœ œ œ œ œœœ œ & & œ. ‰. R. œ. œ. ≈R.≈œ. œ. . ≈R & œ‰ œœ≈ ≈œœ ≈

r œœ œœ & œ ‰ œœœ≈œ≈œœœ ≈œ & œ‰ œœœ≈œ≈œœœ ≈œ NZSM Guide to Music Notation 2018 R R R 8

& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. r œ œ œœœ œ œ œ œœœ œ & œ ‰ R œœ≈R ≈œœ ≈R & œ‰ œœ≈ ≈œœ ≈ & œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈≈ ≈ & ≈œ.≈œ. ≈œ. œ. œ.≈≈≈œ. œ. œ. œ. ≈ & œ œ œ œ œ œ œ œ œ > & œ. œ. œ. œ. œ. œ. œ. œ. œ. > > bœ b˙ > bœ ˙ r & œ ™ & œ ™ ‰ œ ≈œ≈ œ œœ≈œr œ œ‰ œ œœ≈œœJ œ≈ œœœ≈œœ œ œœJœ œ & œ R œœ R œœ & Rœ ‰ R œ&œ≈œR ≈œœœœ ≈R œœ & œ‰ œœ≈ ≈œœ ≈ bœ > > > > & bœ n>œ#œ>œ -œ - >œ bœ™ b˙ œ bœ™>œ bbœ˙™ ˙ -œ b-œ >- >œ- >-bœ>-™ > >˙ & J & J & J > >& J & & œ nœ ˙ œ œ ˙ œ bœ und - erl - ay un - der - lay œ bœ & bœ bœ nœ#-œ -œ - - & bœ bœ nœ#-œ -œ - - -œ >- >- >- > > > > œ - - - > > > > > >- > > > œ œ œ œ œ œ œ œ œ œ & && œ œ & œ œ œ nœ ˙ œunderlayœ ˙ un - der- lay & œ nœ ˙ & œ undœ- erl˙- ay un - der - lay und - erl - ay un - der - lay œ œ œ & œ œ˙œ & ˙ & œ œ œ œ undœ& erœ lay œ œ œ œ unœ - derœ - lay & œ œ œ œ œ œ œ &underlayœ œ œ œ œ œ œ un - der- lay underlay un - der- lay ? œ ˙ & ˙ && œ ˙ ˙ œ undœ erœ lay unœœ- derœ - lay “‘ & ˙ & ˙ & œ”≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ œ œ œ œ ≈ œ œ œ œ undœ erœ lay unœ - derœ - lay “œ œ ...... ?? ˙ Accidental repeated & œ œ ˙ & œ œ ˙ œ œ ˙ r duringœœ a tie œœ & œ ‰ œœœ≈œ≈œœœ ≈œ & œ‰ œœœ≈œ≈œœœ ≈œ & œ?≈ œ ≈“œ‘œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & Rœ œ œRœ œ ≈ œ œ œ œR œ œ ˙ 3 ...... 3 ACCIDENTALS& “” > > œ œ ˙ ? œ œ ˙ &2> bœ™ œ œb˙˙ &2 > bœ™ œ ˙ ˙ r œœû & œœœ œœ > œœ &œœœ > Accidentals should‘ not be repeated during& œ a‰ tiedœœ noteœ≈œ. The≈œ œonlyœ ≈œ &&J œ‰ œœ˙œ≈œ≈œœœ ≈œ p J mf exception is if a tie“ goes over a system break, whenR you mayR repeat R the accidental on“ œthe” new system. > > ? œ ˙ > bœ b˙ 2> bœ ˙ œ bœ 2 œ œ3™ œ ü & 4œ b3œ bœ™ nœ#-œ -œ - - &4 & J&&2 œ œ˙ œ ˙ & &-œJ ˙2>- >- œ>- >œœ >œ œ>˙ > ˙ ˙ œ œ ˙ œ > > pœ mf> pp mp pp mp bœ & ˙ &Dim 3rd, aug˙ 2nd, & #œ œ -œ - undœ -nerlœ - ay unœand- der œmix- lay of 3 œ bœ bœ3nœ - - 4 > 4 > 4 - &2 œ ˙ - >-&>-22>- > > > >œ û˙ bœ 2 sharpsb andœ b œflats œbœ œ œ Respell accidentalsœ œ to avoidœ diminished> > & and4 augmentedœ œ œ œ> &˙ 4 #>œ -œ&nœ.4 &4 œ> -œ ˙ œ &4 #œ -œ intervals — this often occurs if you mix sharps and flats.˙p œ mf ˙ œ pp mp œ œ œ œ œ pp œ mpœ œ œ œ & œ nœ ˙ & œ œ&˙ œ œ & œ œ und - erl - ay un - der - layunderlay un - der- lay 2 4b>œ 2 ü 4b>œ 4 bœ œ- œ &4 &4 #œ &n4œ &4 bœ œ &4 œ œ œ œ˙ œ œ œ œ>œ -œ . œ œ œ œ >œœ œ-œ œ ˙ This is OK, because of#œ - ˙ œ & ˙& & œ œ ˙ the &G minor implicationœ ˙ pp mp underlay pp un und-œ derer- mplaylay unœ - der - lay

In some cases you can mix sharps and flats — e.g. when using the 4 > 4 > 4 - ? raised leading notebœ of a minor key has & a differentœb œ accidental˙ from& üœ ˙ bœ œ œ œ œ ˙ &4 #œ œ nœ und&œ 4er laybœ œ œ unœ - der&- lay4 œ ˙ #œ œ other scale degrees, e.g.> F –B- in. G minor. > - œ œ - s f ‘ “ ? “œ”˙ & œ 2 ?œ œ ˙ G and G shareœ a line… œ œ ˙ &s œ ˙ “‘ . “” 6 œ 6 œ 6 j œ œ™ If a passage implies some sort of tonality œ by outliningœ ˙ a triad or û 3 #œ . 3 bœbœ #œnœ ? œ2 &28 œ œ#œ ˙ &&2 8 œ œ ˙ &8 œ œ#œ . #œ part of a scale, spell accidentals to comply with standard tonal& œ ˙œœ œ œ. œ > œ œ œ œ. > œ . spellings. This means that, where possible,2 different notes should p mf be on different lines/spaces. 3 3 6 œ 6 œ. 6 j œ œ &2 ˙ & 2 2 ˙ #œ . 2bœbœ #œnœ ™ œ6œ œ œ > œ &œ&œ486 œ œ œ>. #œ œ. &86 œ&œb.4œ œ &j œ8 œ œ œ. #œ . #œ #œ . ü p& œ˙œ#œ nmfœbœ#œœbœnœœ #œ˙ &œ œ ˙œ#œnœœœ #œœ œ˙™ 2 &8 œ œ#œ &8 œ œ &8 œ œ#œ . #œ œ . ppœ . mp…but OK here becauseœ . pp mp 2 2 of the shift to B minor &4 4 &> 4 . 4 > 4 - 6 œ œ ˙ &6&4bœœ≈##œœ≈nœ #nœœœn≈œ ≈#.œ&œ≈ 46bœ˙≈&bœ≈œ bœœ œ œ &jœœ4#œœœbœ ≈œ œ œ . ˙ œ #œ . & œ œb˙œœbœœœ.œ œœœ œ œ œ œ #œ&nœ œ œ œ œ œ™ œ#œœ œ -œ œ &8pp œ œ#œ mp &8& œ œ>ppbœœ-bœ bœœ mp&œ8œ >œ™ œœ-#œ . .#œ.&. . . .œ.bœ. b.œ nœ nœ œ But this often depends on context: for instance,& œinœ this#œ .passagenœ #œ ntheœ #œü œ6&œ bœ. . œ œ œ #jœ> œ#œ . œ œ œ bœ . #œ nœ œ following bar confirms a shift to a ‘sharp key’ (B minor), so the &8 œ #œ #œ . œ œ . . . . r œ . #œ- original spelling is OK. 4b>œ 4b>œ œ‰ œ ≈œ4≈ bœ>œœœœ≈œœ ‰ œ ≈œ≈ œœœ≈œ &4 #œ œ nœ &4 b&œ œœ œ œœ &4œ.œ œ #œ œ & œ œœ œœ œ. > - . > - R bœ bœR œ œ R- bœ bœ nœ nœ œ #œ nœ #œ nœ . & œ bœ œœ œ œ #œ œ œ œ . & bœ œ #œ œ nœ œ & bœ#œœ œ & 4>œ >. #œ 4 .bœ.>œ >nœ œ . . . & œ bœ œ&#œ4œœ bœ™œ ˙b˙ & &œ4bœ-œ œ-œ bœ˙™ nœ #œ˙ œ œ bœ . & J œ. œ. œ bœ . & J nœ. œ. . 4 4 . In some more scales with more than seven degrees, suchbœ bœ as œ the œ œ &4 œ œ ˙ &bœ4bœ-œœ -œnœ nœ˙ octatonic scale, it may be best to mix sharps & and4b flats.œ œ. ü#œ&œ 4œ œ #&œ œ -œbœb-œœ. #œ œ nœ œ &œ4 œ œ &œ4.b-œ.b-œ œn-œ - >-œ> > . . ˙ >- >- > -> >˙ 3 œ 4 &4 4 nœ ˙ œ &#œ œ #œœ œ˙#œ œ œ bœ nœ bœ nœ bœ nœ &4 œ œ &4 undœœœ- #erlœœ- ayœ #œ œ Avoidun œB - andder -Elay! œ bœ nœ bœ ˙ - - ˙ s s œ œ œ œ œ œ If you have any C s, E s, F s or B s, you are probably wrong, &4 œ œ œ œ &4 œœ œ œ œ unless you are clearlyf workings f withins a ‘sharp3 key’. The same goes û &4 #œ nœ &4 œ &4 œ #œunderlay#œ #œ œ#œœ œ bœ nœ bœ nœunbœbœ- der- œlay for double-sharps and double-flats. œ #œ œ #œ œ œ #œ nœ œ bœ nœ bœ

& œ œ ˙ & œ œ ˙ 4 #œ ü 4und er œlay un - der - lay &4#œ #œ nœ &4bœ œ œ ? œ œ ˙ & œ œ ˙ “‘ NZSM Guide to Music Notation 2018 ” 9 “œ œ ˙ ? & œ œ ˙

3 3 &2 œ œ œ ˙ &2 œ œ œ ˙ œ > pœ mf>

& 2 & 2 4 ˙ œ œ ˙ 4 ˙ œ œ ˙ pp mp pp mp

4b>œ 4b>œ bœ 4 œbœ œ- œ &4 #>œ -œ nœ. &4 > -œ œ &4 #œ -œ 2 . œ œ . . œ. œ ”.6 ”. A and Aœ shareœ aœ- spaceœ-6œ œ œ“”œ œ - - . 6 ” j œ œ™ &“œ8 “.œ œ#œ#œ . “” &“”8 œbœbœœœœœ œ œ&. 8 “œœ#œ#œnœ 2 œ œ œœ œ. œœ œœ . sœ œ. œ œ. œ œ . œ œ œ- œ- œ œ œœ. œ œ œ-.œ-#œ.œ & && && && & . Where possible, spell oscillations so that notes appearœ œ j œ œ 6 #œ . 6 bœbœ 6 #œnœ ™ on different lines/spaces. &8 œ. .œ#.œ. û&8 œœ#Aœœll.enœg.r#o.œ q.=n1œ20 &8Allegœrœoœ qb#=œ120œ .œ#œœ œ œ œ.œ œ œ œ œ. . >˙ œ&. œ.œœ. œ. œ.œ œ. œ. œ>œ œ#œ. . >˙ œ&œ. œ. œ.. œ. œ . . > #œj œ œ œ œ ˙ œ Œœ œ œ ˙ ‰ œ Œ ‰ j & & & & & œ œ œ & œ œ > > > > œ >œ > > Allegro Allegro pizz pizz > œ #œ nœ #œ nœ ü œ bœ œ œ œœ. œ. & pizz. #œ & pizz. bœ bœ #œ œ œ bœ bœ nœ nœ j & bœppœ j > #œpp œ œ > j &> bœ œ > #œ œ nœ Œ ‰ œ Œ œ .‰ j œ œ™ œ . jœ. œ™ œœ œœ™ œ . j œ™ œ . œ. & œ œ œ & & œ™ œœ œ & œ™ &œœœ™ œ & œ™ œ œ > > > > œ >œ > > > f pp f pp f . cresc. cresc. . f bœ œ œ bœ œ nœ & ppœ bœ f œ #pœp œ4 f & œ bœ4 nœ #œ œ œ bœ . j > œ™ œ &4 jœ. >œ. œ ˙ œ bœ œ.&4 œ œ ˙ nœ. œ. & œ œ & œ™ œ œ#œœ#œœ ‰ - - œœ ‰ In chromatic scales, generally use sharps on the wayœ™ up and flats ü&2 œ™ œœ#œœ#œœœ#œ & J œœ#œœ#œœ#œ J on the way down. œ#œœ#œ Ly - rics 4 Ly4 - rics . &4 œ œ &46œ œ #œ œ. 6 bœbœ œ 6 #œnœ j œ œ™ œœ˙bœ &8œ-≈œ‰-≈œ. œ#œœ˙œ ≈ ≈ œ ≈ œ&œ8≈ œ ≈œ œ. & œ. œ. œ. &œ. œ.8≈ œ. œœ. œœ..#œ. . #œ 2 & œbœœbœœ & œœjbœœbœœbœ j ‰œ œ üœbœœbœœ œœbœœbœœ

r œ œ œœœ œ œ œ œœœ œ .& œ ‰ œœ≈ ≈œœ ≈ & œ‰ œœ≈ ≈œœ ≈ 6 œ 6 œ R6 B, A Rand E are naturalj œR in bœthisœ™ œ &8 œ œ#œ#œ . &8 œ œbœbœ & œ #&œ 8nœ #œœnœ##œœ#œnœ. #&œ œ œ œ #œ œ . œ . > œbar, but. it’s not made clear > > bœ b˙ > bœ ˙ & œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ && œœ. œ. œ.™œ. œ. ≈ œ. œ. œ. œ. & œ ™ J . J . Use a courtesy accidental when anr altered pitch reverts b toœ û œ bœ bœ œ œ œ bœ bœ œ nœ nœ & œ #œ nœ #œ nœ #œœ &œœœ œ œ &œ #œbœœ œ œ œœœ#œœœ œ & bœ œ #œ œ nœ unaltered in subsequent bars. & œ ‰ R œœ≈R ≈œœ ≈R &&œœ‰ œ.œ≈ ≈œœœœ bœ ≈ . œ. œ . . œ. 2 œ bœ b-œ n-œ#-œ - >- >- > >>- >- > > > > > bœ . b˙ > bœ ˙ . & œ ™ œ & œ 4 ™ œ 4 . & bœ Jœ bœ bœ œ œ #œ œ œ ü J& 46 œbœ œœb˙œ b˙œ œnœ &nœ&#œ4œ6œnœ œ˙ ˙ bœ œ 6 nœ j œ œ™ œ . . œ &und8œœ -nerlœ.- œay#œ#œ . un&œ - 8der-œ. - layœ- œbœ &8 œ#œ#œ . #œ 2 . œ œ . œ .œ . œ œ . bœ & bœ nœ#œ œ -œ - 4 œ b-œ - - >- >- > >4 3œ œ œ œ œ œ >- > > > & œ œ œ. œ & œ #œ œœ œ œœ œbœ nœ bœ &4 œ œ ˙ 6 &4#œ-œ œ. -œ ˙ &64 œ #œ œbœ#bœœ œœ œ #œ œ 6#œ #œnœ j œ œ™nœ bœ nœ œ bœ nœ bœ TIES & SLURS &8 œ œ. #œ &&8 underlayœ #œœœ.nœ #œ nœ #œ &8&unœœ -œb.œ#derœ œ- layœ. #œœ#œ & nœ ˙ œ & œ ˙ œ œ Phrase marks (that indicate the phraseologyundœ - erl - ay of the music) areunœ generally- der - lay discouraged these days, because they are easily mistaken for slurs3 (which specifically indicate bow changesœ or& œtonguing).4œ bœœ#œ ˙ & 4œ ˙ œ &4 œ #œ œ #œ œ #œ &4undœ ernœlaybœ nœnbœœ nœ unœ&- 4der - lay œ œ œ #œ œ #œ œ #œ #œ . œ bœ nœbœbœ . & œ œ&œ œœœ#œœnœ #œ nœ&#œœ œ œ&œ œœ œbœœ bœœ bœœ œ #œœ œ bœ bœ œ nœ nœ & bœ œ This slur #couldœ œ beœ & bœ œ #œ œ nœ underlay un - der-œlay . . œ. œ . . œ. mistaken? for a œtie ˙ 4 #œ 4 œ & œ ˙ œ & 4#œ #œ nœ &4bœ. œ œœ . Make sure your slurs can’t be mistaken& for ties˙ . This can& happenœ ˙ ‘ œ if you have a repeated note under a slur.œ œTenuto& marksœ clarifybœ bœ thatœ œœûœ 4“œ & œ b4œ bœ nœ nœ œ und er layœ bœ . un - der - lay &#œ 4”œœ œœ ˙ œ bœ &. 4 œ œ ˙ #œ nœ œ the player should separate them with a small gap. “œ .œ . ˙ - - . . ? & œ œ ˙ ? œ œ ˙ & œ œ 4˙ ü 4 &4 œ œ ˙ &34 -œ -œ ˙ 3 “‘ &2 œ œ œ ˙ &2 œ œ œ ˙ ” œ > pœ mf> “œ œ ˙ ? œ œ If any note under a slur is tied, the slur should extend& to ˙ encompass the full duration of the tied notes. The only û 2 2 &4 œ ˙ &4 œ ˙ exception is if the last note is tied for3 a number of bars, in which3 ˙ œ ˙ œ case, you may slur just to its start.& 2 œ œ œ ˙ &2 œ œ œpp˙ mp pp mp œ > pœ mf> 4 > 4 > 4 - &4bœ #œ œ nœ &4bœ bœ œ œ &4 œbœ œ #œ œ œ > - . > - - & 2 ü & 2 4 ˙ œ œ ˙ 4 ˙ œ œ ˙ pp mp pp mp

4b>œ 4b>œ bœ 4 œbœ œ- œ &4 #>œ -œ nœ. &4 > -œ œ &4 #œ -œ NZSM Guide to Music Notation 2018 10

& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. r œ ‰ œœ œ≈œ ≈œ œœœ œ≈œ œ‰ œ œœ≈ œ≈œ œœ œœ≈ œ & R R R & & œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. > > > bœ b˙ > bœ ˙ r & œ ™ & œ ™ ‰ œ ≈œ ≈ œœ œ≈œ J ‰ œ ≈ œ≈ œ œœ≈ œ J & œ R œ œ R œ œ R & œ œœ œ œ

> > & > > œ œ bœ œ bœ™ b˙ œ bœbœb-œ™ n-œ#-œ˙- - - & J & J>- >- > > > > > >

& nœ ˙ & œ ˙ & œ œ bœ textœ - erl - ay unœ - der - lay œ bœ b-œ n-œ#-œ - - - >- >- > > > > > > œ œ œ œ œ œ œ œ œ œ & ˙ & &˙ œ œLooks like& ‘der’ and ‘lay’œ œ textœ -nerlœ - ay unœ - derœ - layunderlay are separateun words- der-lay ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ TEXT SETTING & œ œ œ œ œ œ œ œ œ & œ. œ. œ. œ. œ. œ. œ. œ. œ. Indicate the syllabic division of words byœ puttingœ œ œ hyphensœ œ œ between œû œ œ 3œ œ œ œ 3 their syllables. & & &4 r œ œ &4 œ œ underlay un - der-œlay‰ œœ ≈œœ ≈ œœ œ≈œ œ ‰œ œ œ ≈ œ≈ œ œœ≈ œ & œ Text œ- œun derœ œlay &Textœ unœœ- der - layœ œ R R R & œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. > > > > 3 3œ bœ™ b˙ ? œ bœ™ ˙ &4 œ œ ü&4& 4 œ œ œ œ &˙ œ œ œr œ œJ œœ œ˙ œ Jœœ Text - unœ ‰ derœœlayœ≈œ ≈œ œœœ ≈Textœ un - derœ‰- layœ œœ≈ œ≈œ œœ ≈ œ & R R ‘ R & “ > &&” œ ≈ œ ≈ œ œ#œœ≈>œ≈ œœ≈bœœ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. > ? “œ œbœ bœ nœ>- - - - &4 œ bœ™ bœ˙ ?œ ˙ -œ >- ˙>- >-œ> b>œ™ > >œ˙ 4 œ œ &˙ J > & J & œ ˙ Divide syllables so that the meaning and pronunciation is r œ œ Syllablesœœ œ œ do not œ œ œ œœ œ immediately clear (e.g. ‘think-ing’ rather“‘ than ‘thin-king’). Where û & œœ ≈‰ œ ≈œœœœ≈œ ≈ ≈œœ&≈ œ œ≈≈ œ ≈ œ‰œ œœœœœ≈œ ≈≈œœœœ œ œ ≈ && nœR ˙ R follow naturalRœ ˙ && ...... you have a choice, it often makes sense to begin each syllable with a undœ - erl - ay unœ - der - lay “œ” œ&≈ œ ≈ œ œ œ ≈ ≈ œ ≈œœ œœ3≈bœœ ≈ œ œ œ œ œ ≈divisions3œ œ œ œ consonant (e.g. ‘un-der-lay’ rather ? than ‘und-erl-ay’)&œ ˙ as b longœ nœ as#œ &-2- &œ ˙. . . . &. 2. . . . œ ˙ -œ b-œ >-&>- œ>- >-œ> >˙œ >œ œ> > œ œ œ > >> this does not make the meaning of the word ambiguous.> Split> words œr bœœ™ bœ˙ œœ œp œ œ mfbœ™ œ ˙ œ œ œœ œ with doubled consonants thus: ‘im-mor-tal’. If you’re uncertain && œ ‰œ œ œ≈ ≈œ œ ≈ &œ & œ‰ œœ≈ ≈œ œ ≈ & œr ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ&≈ œJœ≈ Rœ &œ œœRœœœœ œ œ ≈&œ œRœœ œœJ œ œ œ œ about the correct hyphenation, there is a good &‰ websiteœ that≈œ ≈ will œüœ œ&≈œ ‰. œ. . ≈. œ. ≈ . .œ.œœ. ≈ œ & œ œ œ ˙ œ œ underlay& ˙œ œœ œ œ un - der-lay work it out for you: http://juiciobrennan.com/hyphenator/3 Rundœ -n erlœ -Ray 3 2 R unœ - derœ - lay 2 &2 ˙ &2 ˙> > œ œ œ rœ > œ& œ4 œ >œœ >bœ™ œb˙ ˙ bœ &4>œ bœ™ ˙œ ˙ >œ œ œp œ œ&&˙œ mfbœœnœ>#œ œ -œ - œ œ&œœ ˙ œ œ & >œ ‰bœ™œ œ≈b˙≈œ œ pp≈ œJb-œ >-&b-œœmp™>-‰ >- œ>˙œ>≈ ≈œ œ Jpp≈ mp œ R R R>- >3œ> > 3 & J & œ œ œ œ œ œ œ &&&4Jœ œ œ œ œ œ œœ &4 œ œ œ œ œ œ œ œ 2 >underlay 2 unText - >- derun-layder lay Text un - der - lay &4 > bœ b˙ &&4 > bœ Melismaœ&˙bœ is unclear œ ™œ ˙ & œ nœbœ ˙nœ#œ™ œœ- -˙ œ œ ˙ ˙ & J œ œ bœ text-œ&b-˙-œerl J-ay- œ>- >- > > un - der - lay pp& bœ bœmpnœ#-œ -œ - - > pp> > > mp -œ - >- >-3 > > > > 4 3 ? œ ˙ > > &4 œ&4œ &˙ 4 œœ œ Melismata (multiple notes sung to one syllable) are writtenœ withœ a œû & œœœ œœ œ œ& œ œ œ œ & Text œ- œunbœ der lay nœ œ˙ œ œ Textœ un - derœ- lay˙ œ œ œ œ slur over all the notes of the syllable. If the last syllablebœ b isœ an œmelisma,#œ - - & textœ“‘- erl - ay un&œ - der - lay & œ - -˙- >- >- >&> underlay˙ un - der-lay an extender line can be used. textœ>- -n>erlœ ->ay> unœ - derœ - lay “œ” œ 4 ? ? ˙ œ & &4 & œ œ œœ ˙ & œœ œ˙ œ nœ œ˙ œ ˙ & œ 3˙ œ œ œ œ & 3œ œ œ œ textœœ œ- erlœ- œay œ unœ - derœ -œlayœ œ œ & “‘ œ œ ü & &underlay4 œ œœ œ œ œ œ un &- 4derœ-lay œ œ œ œ underlay 3un - Textder-lay- un der lay 3 Text un - der - lay “œ” &2 ˙ &2 ˙ œ?œ œ œ ˙ œœ œœ œœ œ > œ œ œ œ > & œ œ œ œ & & œ3 œ œ˙ œ œ œ p 3 mf underlay 4&un 4 - der-lay œ ?œ &˙ 4 œ œ &43 œ&4 &œ43 œ œ œœ œ œ œ œ HAIRPINS & DYNAMICS œ œ œ œ œ œText ˙œ- unœ derœ layœ Text un - der - lay 3Text - un der lay 2 3 Text un - der - lay 2 Dynamics always appear below the staff, with& 2 the followingœ ˙ &4&“‘2 œœ ˙ ˙ &4 œ ˙ exceptions: 3 œ œ œ > ˙ œ œ3œœ > ˙ œ &4 œ ”pp p&4 mpmf œ pp mp œ œ 4“œ œ ˙ œ ?œ œ ˙ for vocal parts, hairpins go above the staff4 œ œ ??&4 œ œ œ Text - un der lay œ œœ œ˙ ˙Text un&- derœ - layœ ˙ &4 œ ˙ for instruments that use a grand staff, dynamics œ 2 go between “‘ 2 the staves “&‘ 4 œ ˙ &4 œ ˙ 4 ˙ œ ? 3“œ” œœ ˙ ˙ œ3 &4“œ” pp mp &?2œ ˙ ˙ pp &2 mp ˙ ? œ œ œ ˙ ˙ œ œ œ œ > & œ œœœ ˙œ œ > œ œ p mf “‘ & ˙ Degree of cresc. is Generally speaking, use hairpins rather than cresc.” or decresc., unclear unless the dynamic change spans more than a couple“œ œof bars.˙ û 3 3 ?3 &œ322 œ œ ˙ &2 2 œ ˙ &2 ˙ &&&24 œ œ˙œ ˙>œ ˙ œ œ&œ4 > œ ˙ œ œ œ œ > œ˙ œ œ œœ > p ˙ mf œ It’s a good idea to indicate the dynamic levels that start and end ppp mfmp pp mp your hairpins, unless it’s a short expressive swell3 that only lasts a ü 3 few notes. &2 ˙ &2 ˙ 2 2 œ œ œ œ > &4 œ œ œ2 œ > &4 &4 œ ˙ p˙ &4 œ mfœ ˙ œ ˙ ˙ œ œ ˙ ˙ œ pp ˙ mp œ pp mp pp mp pp mp 2 2 &4 ˙ œ œ ˙ &4 ˙ œ œ ˙ pp mp pp mp NZSM Guide to Music Notation 2018 11

& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ.

r œ œ œœ œ œ œ œ œ œœ œ & œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ&œ ≈œœ‰≈ œ œ&≈ ≈œœœœœ œ œ ≈ œ œ œ &œ œ‰ œœ≈ ≈œ œ ≈ 8va/8ba SIGNS R R . . . . . R. . . . Avoid one-off 8vas va vb > > > > Generally, the only times you need to use 8 or 8 are:r œ bœ™ b˙ if possible œ bœ™ ˙ & œ ‰ œ.œ œ≈œ.≈œ œœ&œ œ≈œ“” &“”œ‰ œ œœ≈ œ≈œœœ&œœ œœ≈.œ “” — high flute or high violin Rœ Rœ J R œ œ Jœ--œ œ œ . œ œ. œ œ œ œ --œ. — the extreme registers of harp, piano, keyboardsœ> or œ œ > œ œ > bœ b˙ û > bœ ˙ pitched percussion. &œ ™ && œ œ™ œ b&œ & & J œ bœ&b-œ nJ-œ#-œ - >- >- >- >- > > > > ” “” œ “” œ. Allegroœ. q=120 “ œ œ œ œ--œ œ. œ œ....œ œ œ œ .œ .bœ&> œœ≈ œ ≈ œ œ œ ≈œ....≈œœœ≈&œœœœ≈œœ ≈œ.. .œ> œ. œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ--œ œ. Generally speaking, avoid ‘one-off’ 8va/8vb. & signs, unlessbœ nœ they#œ œœ œ- -˙& nœ ˙ œ œœ ˙ & ...... j œ bœ - - - - >œ> textœ - erl - ay unœ - derœ- lay Œ ‰ would require more than 6 ledger lines to write out& at- pitch.>- > > > > ü & & & && œ œ & >Allegro Avoid long pizz œ œ >> r > > œ œ œœ œpassagesœ with œ œ œ œœ œ & ≈ ≈ pizz. ≈ ≈ ≈ &&≈ œ≈‰ œ œ≈ ≈œ œ ≈≈ &Allegroœ‰ œ qœ=120≈ ≈œ œ ≈ & œœ nœœ œ˙œ œ œ œ œ œœœ œ Rœ˙&œ œRœ.ppœœ. œœ. œ. œ.manyœ. R œledger. œœ. œ.œ linesœ œ œ œ œ text - erl - ay &un œ-....derœ-œlayœ œ . . > & ™ œ....œ œ œ œ . . > ™ . “” “” j underlayœ>œ œ œ™. œ ˙j > œ“un”œ - der> -lay œ™ œ œj˙> œ œ j For short passages of less than 6 œledger. lines,œ write out Œat pitch. ‰ œ >œ bœ œ œ--bœ˙ œ œ > bœ ˙ œ Œ ‰ œ &r œ œœ&œ œ ™ & œ œ œœ&œ ™ & œ œ & œ œ œ ‰ œœ.œ≈œ ≈. œ œœ>>&≈AllegroJœ œ‰ œ œœ≈ œ≈œf œ&œ Jœ≈ œ --. pp f pizz œ >> œ œ & œ œRœœ>œœœR>œœ œ R œ œ&œ œcresc.œ œ œ œ œ œ œ > > & & 3 3 & &underlaypp û f & unpizz.- der-lay & > &4 > œ œ &pp4 œ œ ” > bœ b˙ ™ ” œ> œbœ œ b˙œ œ œ œ ™ ™ . . “” “ œœ œ ™ j. > & “ bTextœœnœ#-œ™ unœ -œderj- lay Text j >un - der - lay j > œ œ &œJ ™œ œ--œ Allegroœ œ œ q=120œœŒb&-œ -J - >- ‰>- > >œ ∑ ™ œ œ œ∑ ™ œ œ œ & œva vb œ & - >œ > >& œ & œ &œ & œ œ For longerœ passages of more. than....œ 4œ. ledger lines, use 8 /8 . ....>œ œœ œœ--œ. >> œ œ œœ œ œ œ œ . . > Ly3 - œricsœ œ œ œ . . >>œ3œ cresc. f pp f œ œ ˙&4 œ œ œ œ> &˙ 4 œ œ j & & &œ œ œ œ übœ &4 œ œ œ& ?œ Œ œ ˙‰ œ & & Text #&œ- œun œ der &lay4ppnœ ˙ Text f &un - derœ - ˙lay œ Allegro bœ bœ nœ - - - - textœœ- erl œ- ay ˙ unœ -pizzder - layœ œ -œ >- >- >- > > > > > ™ > > >> Allegro q=120> “‘™ j œ œ ∑ ∑ pizz. pp & œ œ œ & & ...... 4 ? ˙ œ œ œ œ œ . . > œ œ œ œ&œ . . > & “œ”œœ œ™œ œ œ œva ™ œ œ œ ˙ &j 4œ œnœœ ˙˙ ˙ &j œ>Lyœ œ˙ œ-˙ œ jœricsœ Never& usej 8 > inœ œ œ œ Œ ‰ textœ œ- erl -œay û™ ?unœŒ- der -œlay œ‰ œ ™œ œ œ œ & va & & œ œ & &œ underlayœ œ && bassun œclef- œ˙der-lay AllegroNever use 8 above bass clef — changeœ œ to treble>> clef.“ ‘ œ pizz œ œ >> œ > > cresc. >f > pp f ” pizz. pp pp f œ“œ œ œœ œ œ œ œ œ œ œ &? ™ ˙œ œü &3œ 3œ ™ œ œ 3 3 j j™ > j >™ underlay &&™ 2&un4jœ>- œ˙derœœ-lay˙œ œ œ&2 œ&4œ œ ˙œ œ œ œ Œ ‰ œ ™ œœ œ œ œ œœ œ œ> œ œ > & œ œ & œ & œœ œœ & & œ ∑ œ Text - un der& lay p ∑ Textmf un - der - lay œ >> f pp f > > Ly cresc.- rics 3 3 3 3 Never use 8vb in pp vb f &2&4 œ ˙ œ &2 &4 œ ˙ œ Never use 8 below the treble clef — change to bassœ clef.œœ œœ œ> ûœ &24 œ œ œ œ œ> œ?œtrebleœ œ clef˙ 2 > ™ Text - un der &lay 4 p œ ˙ Text mf un - der - lay &4 ™ j œ œ ∑ ˙œ ∑ œ œ ˙ ˙ œ œ ˙ & œ œ œ & & pp“‘ mp pp mp Ly - rics 42 ? “” ˙ 2 &&44 ü ? œ œ ˙&4 œ˙ œ ˙œ œ ˙ ˙ & œ œœ ˙ ˙ “pp‘ mp pp mp CLEFS “” œ œ ˙ 3 3 Most instruments only read treble clef, with the? following common exceptions:œ œ &&2 œ œ œ˙ œ >˙ &2 œ œ œ œ >˙ Bassoon & contrabassoon bass & tenor clef p mf Horn treble3 clef (OK to have 4 ledger3 lines); bass clef very rarely &2 ˙ &2 ˙ œ œ œ œ > &42 œ œ œ œ > &42 Trombone & tuba bass & tenor clef; trombone treble˙p clef veryœ rarelymfœ ˙ ˙ œ œ ˙ Viola alto & treble clef pp mp pp mp Cello & double bass &bass,42 tenor & treble clef (tenor preferred& to42 treble) Piano, keybd, hp, marimba treble˙ & bass clefœ (pianoœ can˙ use 8va clef very˙ rarely) œ œ ˙ pp mp pp mp Timpani bass clef Unpitched perc percussion clef [NB: bass clarinet reads treble clef only, as per normal clarinet]

Only change clef if you have a sustained passage of 3 or more ledger lines for a reasonable period of time, or a one-off note of 5 or more ledger lines.

NZSM Guide to Music Notation 2018 12 . . œ œ œ - - . ” œ œ “” “” œ œ œ œ “ œ œ œ œ œ. œ œ. œ œ œ œ- œ- œ. & & & 2 &

4b>œ 4b>œ bœ 4 œbœ œ- œ &4 #>œ -œ nœ. &4 > -œ œ &4 #œ -œ . . . . 2 All.eg.ro. q.=120 œ œ œ œ œ œ œ. œ. >˙ œ œ œ œ œ œ œ. œ. >˙ j 6 œ Œ 6 ‰ œ œ. 6 j œ œ & &4 > 4 > #œ&. œ 4œ bœb-œ #œnœ ™ &4bœ #œ nœ &8 œ&œ4bœ.œ#œbœ œ &œ >8&œ 4œ>œœ.b>œ œ œ œ &8 œ œ œ. #œ . #œ Allegro > -œ . > -œ pizz > #œ -

. 6 œ œ #œ n6œ #œ 2nœ œ œ b6œ œ œ œ j œ œ pizz. #œ &. b#œœbœ & ##œœnœ ™ &8pp œ œ. #œ> &8 œ œ. > &8 œ œ. #œ . #œ Œ ‰ j œ œ j œ œ™ œ œ j œ œ™ œœ & œ œ & œ™ œ & œ™ >œ > - œ > > > &4bœ #œ nœ &4bœ bœ œ &4 œbœ œ œ œ > f pœ. p œf . œ œ. #œ - cr2esc. bœ bœ œ œ > - > b-œ bœ nœ nœ œ #œ nœ #œ nœ& bœ œ. œ bœ œ œ œ#œ œ œ œ & bœ œ. #œ œ nœ œ & #œ œ &2 #œ . . œ . . 4 > 4 > 4 œ- . pp f &4bœ #œ œ nœ &4bœ 6bœ œ œ #œ œ. &4 œbœ6 #œ œbœbœ œ 6 #œnœ j œ œ™ > > - . 4&>8> -œ œ#œ 4 >&8 œ œ - 4 &œ- 8 œ œ#œ . #œ j œ™ œ . 4 œ &4bœ #œœ n4.œ &4bœ. bœ œ œ . &4 œbœ œœ œ . œ bœ œ&#œ4œœœ ‰œ &-œ 4. œ œ bœ œ nœ -œ #œ - & œ™ œ & &2 œœœ#bœœœ#œ Jœ #œ œ ˙ > & - œ-bœ ˙ > nœ #œ œ œ#œœœ#œbœ . œ. œ. œ bœ . nœ. œ. Ly - rics . 6 œ 6 bœ œ 6 . nœ j œ œ™ 4&b>œ8 œ œ#œ#œ . 4 b>œ&68& œœ#œbnœœ #œœ 4nœ #bœœ&6œ- 8 &œœ œœ#bœœ#œœœ . œ#œœ6#œ j œ œ™ &4 #œœ œ n.œ 3 &4 &bœ8 œ œœ#.œ#œ &. 4 œ&œ8 #œœœœœœbbœ.bœ &8 œ#œ#œnœ #œ 4 > - &. 4 4 >œœ-œœ#œ. œ #œ œ #œ œ œ .- nœ bœ nœ bœ nœœ œœbœ. . &4 œ œ ˙ œ #&œo4œ -œ#œ -œ ˙ nœ bœ sul G o o œo Bœ 2 o o œ œ œ . . . 6& œ #œœnœ #œœ nœ #œ 6 & œbbœœ#œœ œbœœœ6#œ œ nœ j œ œ™ bœ œ nœ œ œbœ œbœ j ‰ &8 œ #œ#œ 4. &8 & œ&œ#4œbœ>nbœœ#œœnbœœ4œ#œ&8 &4 œœ>œ#œb#œœœ œ.œ#œœ œ #œ &4 bœœ- œ bœ nœ #œ œ nœ & œbœ œ œbœ 3 &œ œœ. &4 #œ œ œ&&nœ.4bœœ #œ &.œ 4nœ œœœ&œ4b.œ bœ œ .œ œ. &4 œœbœ #.œ œ œ . œ. œbœ œ 2 #œ #œœ #œ œ >œ -œ b.œbœnœ.bœ œ > - - &4 œ #œ3 œ œ #3œ œ #œ nœ bœ nœ œ bœ nœ bœ TRILLS & œ #œ tr. . . 4 > œ 4 > . No wavy line4 and œ-œ . . A trill is a rapid alteration between a note and&œ # œanothernœ #œ œ¬enbœ4œ b~~~~~~~~~~~~~abœ œtone#œ orœ œnœœ œ bœœ&64œ4bœ bbœœ œ &œœœ Ÿ~~~~~~~~~~~~~~~~~~~~~&6œ4bœb4bœœ #œnœ nœœ œ6 bœ œ nœ j œ œ™ semitone above. Trills should2 always& be writtenbœ with#œ three- &.&#œ&84 œœbœœœ#œ##-œ . noœ trillb#&œ note8œ& given4œœbœbœœ&- #œ&8œnbœœ œœ#œ#œnœnœ #œ œ œ . w > û œ bœw.. œ. .> ˙ œ w bœ. œœœ.- - ˙œ bœ . . œ. . . #œ nœ œ components: ‘tr.’, a wavy line and a trill4 note in brackets.& To create a 4 &œ œ & œ. . œ . . sul A &4 #œ nœ mp &4 mp œ mp trill in Sibelius, select the ‘trill’ line#œ from # theœ Lines dialog bœ œ sul D œ sul D 4 > ^ 4 > sul G 4 -. (Create. →Line…). Unfortunately, creatingbœ a trill noter is not so easybœ b—œ . œbœ œO œ. & 4 #œ œ nœ 6&. 4 œ œœ &6 4 #œ œ œ . 6 j œ œ™ you#œ can eitherœ create a grace-note before > # the-4O following.‰™ &Œ 8 œtr. note andœ>#œ #-œ . 4 4O&‰8™ œbœRbœ‰™ - 4&œ 8 œ#œ#œnœ & & #O& &# 4œ œ bœ bœœ œ œœ .œ&#œæ&œ&æ4&4œR3œœ~~~~~~~~~~~~~~~~~~~~~#œœ œœn#œ&Oœ#œ. nœ #œœ bœ&bœ4&œœnbœœœnœœœ#.œœ œœœ#.œ #œœ œ bœ manually moveœ it, or you can# ˙ create~~~~~~~~~~~~~ œ ab œ stemless,. cue-sized,˙æ æ æ æ æœ.&œ4-Ÿ -˙ ˙œ bœ . œ #œæ-œ #-œ œ˙#œ nœ. œ nœ bœ nœ bœ nœ . & æ æ æ œæüO˙æ . œbœ#œ&œ #æœ æœ æ œæ ˙æ . œ bœ nœ bœ bracketed note in an unused voice& atw the same spot& as theœwæ œ mainæ œ &. w œæ œæ œ note and manually shift it to the right.6 mp œ mp6 œ mp 6 j œ œ™ &8 œ#œ#œ . &8 œbœbœ &8 œ#œ#œnœ œ œ . œ #œ nœœ œ#œ.nœ œ bœœ œœœ.. œ œ . #œ œ. 4 & 4 #3œ & bœ bœ œ œ#œ bœ bœ nœ nœ &4 œ3 œ &4 œ &œ4 bœ œ œ œ œ bœ#œ œ œœ#œ4 œ &œ œ bbœœ œnœ bœ #œ œ nœ &4 ˙ &-4œ #-œœ(coœ˙lo#u.œ#rœ tr.œ) œ #œ œ #nœœ bœ. nœ.œ bœ œ œ . nœ bœ nœ œ bœ . œ. key slaps æ ætonœgu#eœ r4aœm œ #œ &œ4#œ~~~œ~~~#~œ~~~~ 4nœ &4 nœ œœbœ nœœ bœ nœ bœ breath only ord. æ æ æ œæ#œæ &4 œ œ œŸ#朜æ #œ&4 ˙ bœœ œ œ Colour trills, in which the player & trills æto anæ alternativeæ œæ ˙æ fingering onœ& æ œæ æ œæ ˙æ ˙ œ ‰ & œœ¿æ#œ¿œn¿œ œ#œ nœ #œ ≈ & œŒ bœ œæœ. œœ œœ ˙#œ œ œ ‰ Œ . & the same pitch, are possible on& all wind instruments,¿ ¿ but only on bœ œ &œ tr. bœ œ nœ ) ) ) ) ) ) ) ) ) ) œ >>>> ¿ ¿ &- - - -œ bœ 4œ #œ œ J & 4gl.œ bœ nœ #œ œ some pitches. Always -check with your player3 first.>> # œ bœ . &4 œ œ œ. œ &œ b4œ œ. œ ~~~~~~~~~~~~~~~~~~~~~nœ. œ >> & 4 4 > >> >> œ #œ 4œ #œ4~~~~~~~~~~~~~#œœ œ ˙œ. bœ nœ bœ nœ4b-œ -œ ˙ Ÿ . p ff p #œ œ gliss.œ #œ & 4 œ nœ &4 nœ œ bœœ œ bœ &œ4#œ œ #œ nœ &#œ4w #œ œ œ w bœ nœwbœ #œ . #œ ˙ & bœ ˙ .& ˙ & 4 œ &œ#˙ 4 &mp#˙ œœ mp& #˙ mp & &4œ bœ bœœ œ4œœ#œœœ &4& 4˙ œ bœ bœ tr. œnœ nœœ#œ œ œ bœ . œ œ&4 œ œ œ.tr.œ 3˙ &œ b4œ œ. œœ nœ. œ ˙. &~~~~~~~~~~~~~4 - - ˙œ #œTooœ many#œ œ strokes#œ. Ÿœ~~~~~~~~~~~~~~~~~~~~~œ œ bœ nœ bœ nœ bœ nœ Unmeasured single-note tremolos (‘bowed4 tremolos’ on strings, 4 œœ #œ œ #Ÿœ~~~~~~~~~~~~~~~~~~~~~œ bœ œ bœ nœ bœ & 4 ~~~~~~~~~~~~~#œ nœ &4 w gl. œ æw w ‘fluttertongue' on winds & brass) are notated#œ using# œthree-stroke & bœ æ æœ æ &æbœæ & æ marks, or fewer strokes if a beam& alreadyw exists (so they& wû mp æ æ&æwæ mpæ mp æ æ 4 gliss. mp 4 mp & æ æ æmpœæ ˙ & æ æ æ œæ ˙ add up to three). You can use& 4 fewerœ strokesœ ˙ for a 3 ‘measured&4 œ ˙œ œæ œ œ ˙ œæ œ œ & #˙ ˙ & #˙tr. - - ˙ & #˙ œ #œ œ œ œ bœ nœ bœ tremolo’, but these can sometimes be confusing, and it& may4 be best œ œ #4œ œ #~~~~~~~~~~~~~~~~~~~~~#œœ 4 œnœ bœ nœ œ bœ ~~~~~~~~~~~~~ œ #œ œ #œ &4#œŸ #æœ nœ &4bœ œ œ nœ bœ to write them out ‘in full’. You should neverw use four- or five-strokew æ æ æw bæœ æ æ tremolos, even though these are readily& available in Sibelius.&æ æ & æ &æ æ æ ˙æ & æ æ æ æ ˙æ mp æ æ æ æ mpæ ü æ œæ œmp œ æ tr. æ œæ œ œ 3 & æ æ æ œæ ˙æ œ&œ œ æœ 4bæœ æ œæ ˙æ œ œ ~~~~~~~~~~~~~~~~~~~~~4 œ &4 œæ œ œæ œ #4œ œ #œ œ #œ ~~~~~~~~~~~~~œ&æ 4œæ4nœœ bœœ œnœ bœ nœœ œœbœ &Ÿ4 ˙ œ œ œ #œ œ #œ &4 #œ nœ w &4œbœ œ œw œ nœ bœ w bœ ˙ œ Multiple-note tremolos (called ‘fingered tremolos’ on strings)#œ are & & & æ æ mp mp mp essentially trills larger than a second, and æareæ writtenæ æ withæ a three- 4 æ 4 gl. & æ æ æ œæ ˙æ &û æ tr.æ æ œæ ˙æ œ œ stroke tremolo mark between two notes of theæ œ æsameœ duration, which æ&œæ4œ œ œ~~~~~~~~~~~~~~~~~~~~~œ &4 ˙ œ œ 4 #œœ 4 ~~~~~~~~~~~~~4 œ œ œgliss.4 œ Ÿ ˙ œ is the total duration of the tremolo:&4 i.e. a tremolo nœ between& two4œ œ æ bœ œ #œ #&œ 4 œw bœœ œ &œw #æ˙&æ 4æ˙æ æ ˙w & #˙ œ ˙œ æ & #˙ ˙ crotchets lasts for a crotchet; a tremolo between twoœ& minimsœ lasts & æ æ æ ˙æ&æ œ æ gl.æ mp &mp æ œæ œæ œæ ˙ mp & æ œæ œæ œæ ˙ for a minim. It’s also a good idea to slur tremolos to showtr. that the ü œ œ 4 gliss.4 gl. notes are under one bow or breath. ~~~~~~~~~~~~~&4 œ œ œ Ÿ&~~~~~~~~~~~~~~~~~~~~~4 ˙ ˙ œ œ˙ ˙ œ œ & #˙bœ œ& #˙ œ & #˙ & w œgliss. & w æ æ æ &æ w ˙ ˙ æ æ æ æ æ ˙ æ æ ˙ mp & #˙ &mp æ œæ œæ &œæ #˙æ˙ mp 4& æ œæ&œæ#œ˙œæ ˙æ 4 œ œ &4 œœgl.œ œ œ œ &4 ˙ ˙ œ œ œ gliss. GLISSANDI æ gl. æ&æ#˙æ æ ˙æ & #˙ ˙ æ & #˙ ˙ æ æ æ æ æ æ æ æ Non-standard Glissandi should be indicated with& aæ solidæ œæ blackœæ ˙ line between4& theæ æ œæ œæ ˙ gliss. 4 œ œ &4 œ œœ œ œ &4 ˙ notationœ œ noteheads (but not quite touching). NB: do not use the defaultœ ûœ &œ#˙ ˙ ˙ & #˙ œ ˙ œ & #˙ ˙ ‘gliss.’ line from Sibelius — this is actually non-standard. To gl. correct this, edit the Line Definition and delete the ‘Centred Text’. 4 4 Gliss line should go You can optionally add the word ‘gl.’,& but4 it’s oftenœ implied. œ œgliss. &4 ˙ œ œ œ œ &œ#˙ ˙ û˙ & #˙ œ ˙ œ &between#˙ ˙ noteheads gl. gliss. & #˙ ˙ & #˙ ˙ ü & #˙ ˙

l.v. marks 3 inconsistent length LAISSEZ VIBRER > > Laissez vibrer (l.v.) marks, used to indicate that notes ‘ring on’, û & œ Œ ‰ œ Œ & œ Œ ‰ œ–Œ should be short and uniformly sized. Rather than using a tie, which mf> J mf>— J 3 varies in length depending on the distance to the next rest, you should use a special laissez vibrer symbol (In Sibelius, Create → > > Symbol… → Notes and Flags). & œ Œ ‰ œ Œ ü & œ Œ ‰ œ–Œ mf> J mf>— J

NZSM Guide to Music Notation 2018 13 PRESENTATION OF ENSEMBLE/ORCHESTRAL SCORES

BINDING & TITLE PAGE Orchestral/ensemble scores must be presented bound and double-sided. If you are required to submit parts as well, place score & parts in a single manilla folder with your name on it. Orchestral scores should include a title page and a preface page that lists the instruments used. Doubling instruments should be indicated thus: ‘Oboe II (dbl. cor anglais)’

INSTRUMENT PAIRS SHARING STAVES For orchestral scores, all woodwind and brass pairs should share a single staff on the score, unless they are consistently rhythmically independent. But the parts must be separate: so Fl. 1’s part does not contain any of Fl. 2’s notes. The only time players playing different notes share the same part is when strings are in divisi. If the shared instruments are rhythmically identical, the two noteheads should share the same stem. If rhythmically independent, stems must be in opposing directions. For shared staves, both full and abbreviated staff names on the score must have ‘I, II’ or ‘I & II’ on them. E.g. ‘Flutes I, II’ on first page and ‘Fl. I, II’ thereafter. When a single melodic line appears on a shared staff, you must indicate which of the instruments is to play this line, in the following way: For wind and brass, use the following indications only on the score, NEVER on the part. 1. or Solo player one only 2. player two only a 2 both players (this only ever needs to appear above a single line to be played by both players in unison, otherwise it will be ambiguous to the conductor) For strings, use the following abbreviations, on both score AND part. div. section divides in 2 div. a 3 section divides into 3 (or more) parts unis. section plays together after a period of divisi playing 1 desk front desk only (1 desk = a pair of players) Solo section principal only In the parts, it makes life easier for the players to have divisi split out onto separate staves (see Appendix). Only combine parts on one stave if there's a compelling reason to do so.

FIRST PAGE On the first page of the score, show all staves. Any doubling instruments that are picked up later in the piece do not need to be shown on the first page, but should be listed in the instrument list page

TEMPO CHANGES, PICKUP BARS AND The rule-of-thumb is: all players, even if not playing, must know how the beat changes and what the conductor will be beating. This means: tempo markings must appear on all parts (use Tempo Text) every player must know how long a pick-up bar lasts: if it lasts one beat, make sure players have a crotchet rest in their parts, not a bar rest if one or more parts have a in it, then every player must be given that fermata for the same duration and at the same location. If they have a rest or sustained note in that bar, you should break up the rest or notes as necessary so that the fermata’s duration and beat is clear.

REHEARSAL LETTERS Adding rehearsal letters (A, B, C, etc...) every 15–20 bars aids the rehearsal process. Rehearsal letters and tempo indications must break multimeasure rests. Use the automatic feature of your notation software.

NZSM Guide to Music Notation 2018 14 PRESENTATION OF PARTS

MANDATORY ELEMENTS Parts are only required to be submitted if your lecturer will be marking them and passing them on to the players for in-class readings. Parts MUST be identified with the composer, title, and instrument (including doublings where appropriate). Hand in with the score in a single manilla folder with your name on it. Parts must be presented single-sided A4 portrait, paper-clipped together. Standard music notation practice should be observed. Any unconventional notation must be clearly explained on a preface page. Explanations of one-off effects can also go directly onto the part, as they’re more likely to be observed there — however, explanations should be kept to a minimum to avoid cluttering the parts with writing.

ORCHESTRAL PARTS For winds, brass, keyboards, timpani & harp, each player MUST have one, and only one, separate, exclusive part. There should not be any other player’s music on that part, except for cues (see below). — For doubling instruments, when the player finishes playing one instrument and moves to another, you should indicate which instrument they should change to (e.g. ‘TO COR ANGLAIS’) immediately following their final notes. In the score only: the staff name should change to reflect the new instrument. In the part only: the name of the new instrument should appear over the top of its first note (e.g. ’COR ANGLAIS’). Strings share one part between two players. In extensive or complex divisi passages, the individual parts should be split onto separate staves. In string parts with consistent divisi of three or more throughout the piece, it may be advisable to prepare separate parts for each divisi line in order to reduce the frequency of page turns. Percussion parts should be divided into ‘stations’. Each station should include one ‘large’ instrument (e.g. , marimba, bass drum, tam-tam) and any number of smaller instruments.

PAGE TURNS, BAR NUMBERS, REHEARSAL LETTERS & CUES Consideration in layout should be given for comfortable page turns. Bar numbers must appear at the beginning of the first bar of each line for each part. In longer works, rehearsal letters are helpful every 15–20 bars, especially at tempo changes. Logical cues are expected during long period of rest, the cues being transposed to the reading key of the instrument. Cues must be audible to the musician reading the part.

STAFF SIZES As mentioned earlier, instrumental parts should be 6–7 mm. As a rule-of-thumb, parts should be easily readable when held at arm’s length.

HARP PEDALLING While most harpists prefer to work out their own pedal changes, you should ensure that you don’t have any conflicting pedal indications (e.g. having an F and an F in the same chord). n s Indicate the pedal settings before a glissando by writing out the first seven notes, or providing the pedal settings (in the correct order). See Glissandi below.

NZSM Guide to Music Notation 2018 15 STRING WRITING Slurs indicate which notes are to be included under one bow-stroke. Only provide up-bow (≤) and down-bow (≥) symbols if they are not obvious to the player. String indications: you can indicate a note or passage is to be played on a specific string in two ways: 1) using ‘sul’ notation (e.g. ’sul G’); or 2) Roman numeral indications (I, II, III, IV from highest to lowest). Make sure it’s clear how long the string indication lasts for. Only use string indications when: — you’re using a diamond-headed natural (see below) — you have a downward glissando that ‘crosses over’ the pitch of an open string — you want to specify a string for colouristic reasons (e.g. playing in high positions) — the desired string is not immediately obvious (e.g. to indicate a tremolo between two strings) Multiple stops can be difficult to write well. A general rule is: any that includes an open string is easy. Otherwise, intervals from a semitone to an are possible, but fifths can be awkward. Sixths are the most comfortable. Avoid fast changes between multiple-stops.

STRING There are two main methods of producing harmonics on string instruments: natural harmonics and false/artificial harmonics. Natural harmonics are played with one finger, false harmonics with two. 3 3 NATURAL HARMONICS are created by lightly touching the string with one finger of the left hand at a ‘node’, which will produce> a member >of the harmonic series of the open string. 3 3 Œ ‰ œ Œ ‰ œ Œ Œ ‰ >œ Œ ‰ >œ Œ There& are œtwo ways& to notateœ natural harmonics,& œ— depending& œ – on the chosen– harmonic: mf> mf>J J> mf> mf>—J J 3 3 œ> Œ ‰ œ Œ œ> Œ ‰ >œ Œ 3 3 — If& theœ soundingŒ &‰ pitchœ Œ is the sameJ& asœ theŒ fingered&‰ œ—– pitchŒ (whichJ– is always true for the second harmonic),mf> then writemf>J the note as usual,mf>— but with amf >harmonicJ circle (°) above it. j > > > j > j >- > > j œ ˙- Œ ‰ œ-jœ> -ŒŒ ‰ ->œ Œ jœ œŒ ‰œ œjœ-–>-ŒŒ ‰ >œ-> Œ j — If&& theœ. soundingŒ &&&‰ œ pitchœœJœ ˙>Œ Œœ is. different‰ œœJ&&&Œ œ fromœ. —œ the™ Œ& & fingered‰œœJ—œ>œœ–™ Œ pitchŒœ. œ‰ (whichJœœ––Œ œ is often true for any other harmonic),mf> > write mf>. thejJ fingered J pitch.mfj> with—> a hollowJ mf.>j — J- diamondJ noteheadJ .j and provide a string mff>j - mf>f>- ˙- j - f>jmf>- f>mf>- œ j œ - indication.˙ If the& durationœœ is unclear,œ œyou œcan™ include&œ œœ the™ open stringœ inœ brackets underneath. & œ. . œ. & œ.. J . œ. J . f> > f> > f> > f> > Natural harmonicsj >- are usually-j > j created at onejj of-> the followingj- -> positionsj (examplesj given for violin) j ˙ œj ˙- jj j œ- jjj jjœ-j œ jjœ œ- j jœ œ- j & œ. ˙- & œ- ˙-œ. -& œœ. œ™ &Ó œœ -œ™ œ.Ó œ - œ a)& touch œ 8ve˙ above&œ œ œopenœ. œ ˙ œstringœ œœ œ œ œ œœœ. œœœ œœ™ Jœsoundsœ. œœœ™ 8veœ aboveJ œ open.œ string (= 2nd harmonic) & f>. & f.> ™ . ™ &™ f.>. ™ & fJ>. . J . f> f> j j jjf> j j fj> j & œ ˙ œ œ œ Sounding:œ œ Ó œ œ œ Ó & (Violin)œ ˙ œ (Violin)œ œ œo œ ™ œ œo œ ™ Sounding: o ™ œ ™ o œ œ œ o o oœ j j œ j j Sounding:œ œ (Violin) (Violin) o jSounding:oj Ó j j & œ ˙ œ&œ œœ™ ˙œjœœoœjœ™ oœ™ œjjœj œ™j œjœœ œjÓ œœ œ && œo ˙ &&œ œœoœoœ˙ œoœ œ œ œœœ&œœœ Ó œ &œ œœœ Ó œ o ™ œ ™ ™ ™ œ (Violin) œ (Violin) Sounding: œSounding: b)& touch(Violin)œ perfect& 5th(Violin)œ above openo string &o œ sounds& œ 8ve + 5th above open string (= 3rd harm.) (Violin) (Violin)o œI o Sounding:Sounding:œ Sounding:Sounding: œ œ IVo IIIo IVoIIœ IIIoœo IIœ œIo œœ œ œ œ (Violin)o œ o(Violin)o œO o œ œ“œ” œ “” & œ o IVœ IIIo IIœ Sounding:&OI œ œSounding:œ œ œ œ IV IIIœ& œIIO œI O œ &œ œ œ œ ” && œ O&& œ OO &O& œ œ & œ “œœ” “œ (Violin)O (Violin)O O œ O OI Sounding:I œ Sounding: & (Violin)IV(Violin)IIIO&(Violin)(Violin)IVII III II & & O O Sounding:Sounding: Sounding:œ ” œ ” IVIV III IVIVII IIIIIIOII IIII OI œSounding: “œ “œ (Violin)O ” œœ ” (Violin) O œ Sounding:œ œ“œ œ“” “œ “œ” c)& touch perfectO 4thIV aboveIII OopenIOO stringII Sounding:&OI œ soundsœ œ 2œ 8ves œaboveœ œopen stringœ (= 4th harm.) IVO III& OIIO OO œ & œ” œ “” œ && O&& OOO &O& œ& œ“œ œ œ (Violin)O O(Violin)O O œ & O OI Sounding:I Sounding:& & (Violin)IV(Violin)IIIO (Violin)(Violin)IVII III II Sounding:& ” O O I I œSounding:“ œœ “” œ IVIV III IVIV(Violin)IIII IIIIIIOI IIII Sounding:IO œ #œSounding:“œ” #œ “œ” #œ (Violin) O O Sounding:#œœ ”#œ œ #œ ” œ IV III#IO II Sounding:I nœ œ nœ “ œ ”“ #œ & IV IIIO& II OO #&O œ #œ & “œ” œ##œœ “ œ & O #OOO #O #&O nœ n#œœ #œ d)& touch(Violin) maj # O3&&rd above(Violin) open#O#OO string & sounds&& 2 8ves+maj 3rd above open string (= 5th) O #OO #O Sounding: Sounding: & IVO III& OIVII #IIIOI II &Sounding:I Sounding:& ” #œ ” (Violin)#O (Violin)O #œ “ #œ - “ #œ O Sounding:nœ- -Sounding:n#œœœ- -œ #œ- œ- IV III IVII III#OI II Sounding:#OI œ œ œ- œ œ #O #O #œ --“” #--œ#œ œ-“” #œ-œ & #O& #O- &- -nœ œ-& nœœ#œ œœ #œ bO O #O O #O œ & OO œ& O#œO bOœ #Oœ Sounding:&œ- & & œ -& œ- œ- O O& Sounding:& - b#O -OO #bO-OO - Sounding:œ - - - & OœO œ& Oœœ -œœ -œ & œ- œ-Sounding:& -œ œ-œ œ- œ -o -o --o o Sounding: Sounding:Sounding:œ œ #œ œo ˙ #œo- ˙ Sounding:- nœ #œ nœ -˙ #œ - -˙ - NB: the fifth harmonic bO isoO alsoo b availableOoO O˙o by touchingO œ- a majorœ- 6thœ- œaboveœ- openœ ˙œstring. Theœ 5th harmonic is & œOo #œœo& œOœ˙ #œœœ œ &œ nœ #œ&nœ˙ #œ also a& little- flat and -& quiet;-- if possible,-- use- a false&- harmonic& to get the sounding pitch instead. O O O O O Sounding:O Sounding: && O bœO&O& O œoO bœOOœ œO &œ& && œo -o œOo-˙ -o -˙Oo Sounding: Sounding:˙ ˙ -œO #Oœ -œ O #œO Sounding:nœ #œSounding:nœ #œ NZSM Guide to Music Notation 2018o o Sounding: 16 o o o oo o o Sounding: œ ˙ œ ˙ & o o o ˙ o ˙o & œ œ ˙˙ ˙˙ œOo #oœ& œOo Oo˙ #œo o nœ œ#&œ nœœ˙ #œœ ˙ & œ O& œ ˙ œO ˙O & œ & ˙ && œ &œ& œ˙ œ ˙ Sounding:&& Sounding:&& Oo Oo Oo oO Oo Oo œ ˙ œ œ ˙ œ ˙ & œ œ& œ ˙ œ ˙ &Sounding: Sounding:& o o o ˙o o o˙ œ ˙ œ ˙ œ œ ˙ ˙ & œ &œ œ ˙ œ ˙ & & . œ œ . œ. œ “” “” œ œ œ- œ- œ “” œ œ œ œ. œ œ. œ œ œ œ œ- œ- œ. & & & & 3 3 Allegro q=120 œ. œ. œ. œ. œ œ >. . > œ. œ. œ. œ. œ œ . . > Œ ‰ œœœŒ˙ > Œ ‰ >œœ œŒ˙ > Œ ‰ j && œ & œ Œ ‰ œ Œ&&œ— & œ Œ– ‰ œ–Œ & œ œ œ mf> mf> J J mf> mf>— J J œ > > 3 Allegro pizz > >

>pizz. pp> j - j -> >j j j j - jj>>-- j j j > œŒ ˙ ‰œ˙- œœ - œ œ™ œœœœ™ œ>œœ - œ œ™ œ 3 && œ. &œŒ œœ. ‰ œ . Œ œ &œ. &&. œ™œ& œœ.ŒJ ™‰ œ.J–Œœ &œ. œ™ œ fmf> >f J> > f> mf— f J > > > > > f pp f > cresc. pp Œj > ‰f œ Œ Œ ‰ >œ Œ & œj > œ œ™ œ j jj j jj &jjœ>-Ój œj#œœœ ‰–j && mfœ>œ™ ˙˙-&œ œœ ˙œ-™ Jœœ œ &œ™ œ œœ œœ œœmfœ>œ#œ—œœœ#œœœÓ -J J & œ. œ œ. ™ œ#&œœ#œ™. ™ J œ œ. f>Ly - rics Sounding:f> There are(Violin) higher natural(Violin) harmonicso available,o but theseSounding: can be tricky to find, and often don’t sound at all. Note that all natural o harmonicsœ are alsoœ available by touching at theœ soundingœ pitch: in other o >o o œ o œo >- œ œ words, in a highj œ- œpositionbœ -onœ the stringj . These‰ high-position,j œ touch-at-the-sounding-pitchœ- j natural harmonics &are notated˙ œ bwithœ œ bcircleœœ notation ratherj than œdiamond™ œ noteheads.œ If you are unsure about && œœ. & œ jœ.bœj œbœ œ&&j œœ. j& œ J œ. whether& tofœ> use lower˙ œor higherœ positions,œ œ œ checkœ withfœ> a performer.œ Ó (Violin) (Violin) ™ ™ IV III II I Io Sounding: Sounding: (Violin)Sul G IV III II o Bœ Sounding: œ ” œ o o o œo O œoœ O œ œ “œ œ “œ” œO o O œ & o œOo œO j j & j j œÓ ∑ œ ∑ && Oœ &˙ œOœ œ™ œ œ œ™ œ œ&&œ œ & œ 3 3 & œ (Violin) (Violin) IV(Violin)III II I I Sounding:Sounding:Sounding: FALSE HARMONICS(Violin) IV (aka ‘artificialIII II harmonics’)o are created by fingering” œ any pitch normally, while œ Sounding:œ “ œ “” œœ lightly touchingIV theIII same stringII o Oa perfectI 4Oth higher.œ This createsœ the fourthœ harmonic, which sounds o o O œ O œ œ œ two & higher&O thanœ the OstoppedO note. (Other& intervals& are possible,œ œ but less“ œcommon).” & Oœ O O &œ œ — False& (Violin) harmonicsO(Violin) sound clearest if the stopped& note is less than a 5th above an open string. O I Sounding: Sounding: — You can’tIV(Violin) playIII falseIV harmonicsII III II in the middleI of a fast# run,œ but“ you”#œ can#œ gliss“” them#œ smoothly. (Violin) I nœ Sounding:nœ #œ #œ IV III II #O #O Write falseIV harmonicsIII # asO II follows:# OIone normal Sounding: notehead (the stopped pitch)œ and” one diamond notehead& (the lightly&#O touched#O pitch, aO perfect& 4th higher).& You don’tœ œneed“” to give œthe sounding“œ pitch. O O O O œ œ O Sounding: Sounding:œ & OO && - - œ- - - OO œ- œ œ- œ œ- œ œ (Violin)(Violin) - - bO O O O O Sounding:Sounding: & IVIVO &œIIIIIIO œIIbOII œ Iœ I œ & & ” -œ - -œ - -œ - #œ œ “ “”#œ œ #O O Sounding:nœSounding:œ #œ œ o o o #oOOo o HARMONICS& ONœ OTHER##œO INSTRUMENTSOœ ˙#œ ˙ n&œ &#œnœ ˙#œ ˙ OO & (Violin)& & Sounding:& O rd th - Flute harmonics areO O possibleO O by overblowingOI a harmonicSounding: (usually- the -3 –6 ) œoff a fingered pitch in IV III II Sounding: œ- œ œ ” #œ the lowest fifth of the range. Notate as follows: fingeredSounding: pitch with# diamondœ # “notehead,œ sounding pitch with harmonic circleo above.o Harmonics-o are breathy andn slightlyœ less stable pitch than conventional o bOo Oo O#oO œ œ ˙ œ ˙ fingering. & O œ #œO œ & œ ˙ && œ-œ &#œ-Oœ ˙-œ ˙ & && O ˙ Sounding: o o o Sounding: œ #œ ˙ nœ #œ - ˙ - œ- œ- œ œ & O O- & & O bOO OœO œ & -œ -œ - Sounding: o o Sounding: Harp harmonicso are notated using a harmonic circle,œ but unlikeœ string˙ harmonics, this does not o o ˙o ˙ ˙ signify& theœ œsounding#œœ pitch —˙ they always sound an& 8ve higher.nœ They# areœ played by touching the string at the midpoint with the heel of the palm, while plucking with a finger of the same hand. The left hand can play& two harmonics at once, but no wider than a& fifth. Harp harmonics sound best in the middle octaves (G3–G5).O O O Sounding: o o o œ ˙ œ ˙ & œ œ ˙ & Piano harmonics are available, but can be awkward to produce (it requires one hand inside the piano, the other on the keys). It works best in the bottom two octaves: a harmonic circle above the note indicates an indeterminate harmonic. If you want an exact harmonic to be sounded, you can also indicate the sounding pitch as well as the played pitch (with the played pitch as diamond notehead, similar to flute harmonics) — but this requires the pianist to put Twink on the string at the node, which may not be allowed. Furthermore, the big iron struts of the piano’s frame can vary from piano to piano, meaning that exact harmonics may not always be accessible.

NZSM Guide to Music Notation 2018 17 PIANO WRITING Piano scores are written on a ‘grand staff’ (two staves bracketed together). Occasionally a third or even fourth staff is seen in more advanced scores — but usually this is unnecessary. The upper staff generally indicates notes played by the right hand; the lower staff notes played by the left hand. It is important to show how the hands of the player move, even if this may make the notation more complex (e.g. cross-staff beaming). Use clef changes (treble or bass) to indicate a hand going out of its usual register. Dynamics that apply to both hands are centred between the staves. Individual dynamics for each hand may be placed between the staves, but close to the part. If that is not clear enough, dynamics may be placed on the outside of the system. Piano pedals A full grand piano has three pedals, from left to right: 1. una corda (aka ‘soft pedal’): this pedal shifts the entire hammer action to the right so that the hammer only strikes one or two of the strings, instead of the normal three. The difference is subtle, but gives the sound a slightly duller, less resonant sound. Notate with ‘una corda’ underneath the bottom staff. 2. sostenuto pedal (aka ‘third pedal’). If any notes are held 1. down, depressing the sostenuto pedal will keep those dampers raised even after the pianist has let go of the keys. This allows the 2. composer to control the specific strings that can resonate, or allows a 3. particular string to continue sounding while others are staccato around it. Notate with ‘Sost. Ped.’ or ‘3rd Ped’. 3. sustain pedal: the ‘default’ pedal, which raises all of the dampers when depressed. Every string therefore continues to resonate when played, and also resonates with other notes being played. Indicate using Ped. under the bottom staff. Other indications might indicate special pedalling: ‘poco Ped.’ (a little, subtle pedalling), ‘sempre con Ped.’ (hold the sustain pedal down continuously), ‘senza Ped.’ (absolutely no pedal).

œ œ ˙ œ & œ œ Œ Ó Pedal changes are best indicated with ‘sustain/retake’ lines: ? ∑ ∑ ° ø

HARP WRITING The harp is one of the most technical instruments to write for (except, perhaps, ). Read any decent orchestration textbook before attempting to write for the harp. Carolyn Mills of the NZSO has prepared a little manual, which she is happy to share with composers. This is available from the Programme Leader, Composition.

MALLET PERCUSSION WRITING One way to tell whether a particular passage is possible on the vibraphone or marimba is to hold out the thumbs and pinkies of each hand, and use only these fingers to play a passage on the piano. This roughly simulates using two mallets in each hand for a percussionist.

NZSM Guide to Music Notation 2018 18 CONTEMPORARY INSTRUMENTATION GUIDELINES

These guidelines cover some of the issues that arise when writing more ‘contemporary’ playing techniques. Always be sure you understand exactly how a technique is created physically, as it is quite common to see extended techniques that are unplayable. If in doubt, always check with a performer.

MUTES GENERAL To indicate an instrument should be muted with the default mute, write ‘con sord.’ above the staff. To indicate that a passage is unmuted after a muted passage, write ‘senza sord.’ above the staff. To specify a mute other than the default, write, for instance, ‘con sord. (harmon)’. If you want to specify just a change of mute, then just write the new mute’s name (e.g. ‘straight mute’). Normally a player will work out the best time to take off their mute. On rare occasions, you might want to specify exactly when they need to take the mute off. In this case, use ‘via sord’.

WOODWIND MUTES There is only one common example of muting woodwind: muting the bassoon, which can be seen in some Ligeti scores. A rag or a horn mute in the bell can be used for this. Attempting to mute any other in this manner is largely ineffective.

BRASS MUTES Horn The horn normally uses only one mute, indicated using ‘con sord’. Allow 4–5 seconds for inserting or removing. The horn can also be stopped with the hand by pushing it further into the bell — this is marked ‘bouché’ and it has a distinctive ‘biting’ sound. (In low registers, the horn player often uses a ‘stopping mute’ instead of the hand.) Trumpet The default mute is straight, but also available are cup, harmon, plunger, bucket and whispa. Allow at least 4 seconds to mute/unmute, or 7–8 seconds to change between different mutes. Bucket mute requires considerably longer, as it has a rather awkward setup. Harmon mute has a stem with three positions: stem in, stem half-in or stem removed. ‘Harmon, stem removed’ is a tight, nasal sound, like Miles Davis. For harmon and plunger mutes, you can also indicate whether the mute is open (o) or closed (+). Trombone The trombone’s default mute is the straight mute, with harmon and plunger also available. Apart from plunger, allow at least 7 seconds to change, as they need to be ‘screwed in’ Tuba The tuba only has one mute, which requires a lot of time to fit and unfit. Allow at least 15 seconds per change. Tuba players have very mixed feelings towards its use.

STRING MUTES The normal string mute is indicated by ‘con sord.’ A ‘practice mute’ is also available which has a much softer, more metallic sound. Indicate using ‘con sord. (practice mute)’

NZSM Guide to Music Notation 2018 19 3

> > & œ Œ ‰ œ Œ & œ Œ ‰ œ–Œ mf> J mf>— J 3 > >- j ˙- œ- j j œ œ œ- j > & œ. > œ. & œ. ™ J œ. & œ Œ ‰ œ Œ & œ f>Œ ‰ œ–Œ f> mf> J mf>— J

j j j j j > j j >- j Ó ˙- œ- &œœ ˙œ œ- œ™ œ œ œ™ œ œ œ & œ. œ. & œ. ™ J œ. f> f> Sounding: (Violin) œo œ o o œo œ œ œ j j j& œj & œ & œ ˙ œ œ™ œ œ œ™ œ œ œ Ó (Violin) I Sounding: (Violin) o Sounding:IV III II œ o œ Oœ œ “œ” o o œ Oœ œ Oœ œ & œ && Oœ & (Violin) (Violin) I Sounding: IV III II I Sounding:IV III II ” œ œ “O” œ “œ O œ O œ œ O & œ O & & O O & O (Violin) (Violin) I Sounding: I Sounding:IV III II #œ “” #œ IV III II œ “” #Oœ nœ #œ O œ #Oœ O & #O & & O & O O Sounding: (Violin) - Sounding: - œ- œ- œ IV III II I #œ “” #œ œ #O nœ #œ O- & O bO œO œ & & #O #O & -œ -œ - O Sounding: Sounding:o o o œ- #-œ œ-˙ œ- nœ #œ ˙ œ œ O- & & & O bœO œO œ & O O O œ - - Sounding: - Sounding: o o o o o o œ ˙ œ #œ ˙ nœ #œ ˙ œ ˙ & œ œ ˙ & & & GLISSANDI O O O (Flute) (Violin) gl. ^ gl. ^ Fingered glissandi are available on winds and brass, by Sounding: œ. œ. using a wavy line between noteheads.o o These o are usually œ~~~~~~~~~ œ ˙ œ executed as fast chromatic runs. & œ Ó˙ & Ó & œ œ ˙ & p ff p ff (Flute) (Violin) Continuous glissandi (‘pitchbend’ on winds/brass, gl. ^ gl. ^ ‘portamento’ on strings) uses a straightœ . line. This implies a œ. smooth glissando, which may œ not~~~~~~~~~ be possible on some œ instruments. & Ó & Ó p ff p ff WOODWIND GLISSANDI

All woodwind have fingered glissandi possible, usually executed as a fast chromatic or diatonic run. For pitch bends, instruments use a combination of and key sliding. — Flute: Lip gliss: down about a semitone (sometimes further) or up about a quartertone. — Oboe/bassoon: Wider pitch bends possible higher up the instrument. — Clarinet/saxophone: Downwards lip gliss. depends on register: from about G4 up, downward glissandi can be up to a third; elsewhere about a semitone or so (check with performer for wider intervals). Difficult around the throat region and just over the break, because of use of keys. A combination of ‘gliss embouchure’ with finger sliding can create smooth glissandi over wide ranges — the canonic example is Gershwin’s Rhapsody in Blue.

BRASS GLISSANDI

Fingered glissandi are slower than winds because of more sluggish valve mechanisms and fingering. Trombone ‘fingered’ gliss is impossible, of course.

For continuous glissandi: — Horn: most common is the ‘rip’, which goes up the harmonic series (you can write using a continuous gliss line, or writing out the harmonics). Narrow glisses by a semitone are possible, usually by hand-stopping or half-valving. — Trumpet: narrow glisses are available by half-valving. Rips are also possible. — Trombone: glisses created by , but slide can only move 6 , and then only between harmonic series of E1 (slide out) and B 1 (slide in), so you have to work out whether they are possible or not. A gliss on harmonics is calledf a ‘rip’. HARP GLISSANDI Harpists can cover a great range very quickly, given that an octave covers about 10cm. When writing loud glissandi, always allow a large range (at least 4 octaves) to allow the player to pluck the strings with greater velocity. A harp glissando must always cover all seven strings in an octave — you can’t leave out any, although using enharmonics, you can reduce the total number of pitch classes — e.g. if you wanted a gliss on C-D-E-G-A, you would need to tune the harp: D C B | E F G A n n s n f n n “œ”– Ó Œ ∑ Notate a gliss by showing the first 7 pitches with accidentals & gl. & followed by a gliss line, or you can give the pedal settings and write a gliss from the bottom note to top note. ? #œ Œ Ó ? ∑ nœbœnœnœ f nppœnœ A ‘tuning key gliss’ is available, though it requires practice. Indicate{ the sounding pitch only — it will { actually be performed on a larger (i.e. lower) string. It has a range of about an octave or so. A ‘pedal gliss’ is possible, when a pedal is raised/lowered to change the tuning of the string. This is not smooth, however, and has a range of 2 semitones. It can also buzz a bit.

NZSM Guide to Music Notation 2018 20 . . œ œ œ - - . œ œ œ “” “” œ œ œ œ “” œ. œ. ” “” œ œ œ œ- œ- œ. œ“” œ œ œ. œ œ. œ œ œ œ œ- œ- œ. “. . œ œ œ - - . œ œ œ œ œ œ & œ œ œ œ & & & œ & . œ. & ”& œ œ œ - - œ. & ” œ “” “. œ œ “ œ œ . œ œ œ œ. œ œ œ œ œ- œ- œ Allegro q=120 œ. œ. œ. œ. œ œ . . > œ. œ. œœ. œ. œ œ . . > . &. . . & All.eg.ro. q.=120& œ. &œ. œ œ ˙ ” “” œ œ œ œ- œ- œ. œ ˙ “” Œ ‰ j œ œ œ œ œ œ œ. . >˙ œ œ œ œ œ œ œ. . >˙ & j “ . & œ œ& . œ œ œ . .œ Œœ œ ‰ œœœœœœ. œ- -œ . ” œ œ œ- œ- œ œ >œ > > & & œ œ “&” Al“le”gro œ œ œ œ œ œ “ pizz > Allegro q=120 .& . œ > > &> & œ œ œ - - .& Allegro œ. œ. œ. œ. œ . . > œœ. œ. œ. œ. œ . . > œ œ œpizzœ> œ œ œ œ œ œ œ ˙ œ œ œ ˙ pizz. j pp & && & & Œ & ‰jœ œ & j > j > pizz. pp Œ ‰œ œ™ œ œ™ œ j j > & j > œ œ >œ> Alleg&ro q=œ1™20 œ œ & œ™ œ œ Allegro œ™ œ . . . .pœizzœœ>™ >œ > > . . . . & Œ ‰ œ œ & œ œ & œ œ œ œ œœ>œ. . >˙ œ œ œ œ œ œ œ. . >˙ j œ œ œ™ œ™ Alle>gro q=œ120 œ f Œ ‰pp œ f > pizz.> > . . . . & . . . . & cresc. & œ œ > œpœp œ œf œ œ . . > pp œ œ œf œ œ œ . . > œ > > > j cresc. j >œ œ ˙ Allpegpro j f> œ œ ˙ j pizz > Œ ‰ & œ™ œ & > œ™ œ & Œ ‰ œ œ pp& f œ œ & œ™ œ œ & œ™ j œ œœ™ œ œ œ œ œ œ > > & œ œ & œ>#œœ#>œœ> ‰ j > > > Allegro œ™ œ#œpœizœz#>œ J œ œ™ œ œ#œœfœ ‰ pppizz. f pœp #œ & œ™ œ & œ#œœœ#crœesœc.#œ J j j > œ™ œ j > œ™ œ œ#œ pizz. & ŒLy - r‰icsœ œ & œ œ & œ œ STRINGpp GLISSANDI f pœp œ œ™ œ™ Ly - rics > j > > j>>> j > o j œ™ œ Œ ‰ œ œ œ œ™ œ f sul Gœ œ™ œpopBœ f &Glissandiœ on stringsœ are continuous& & only, although œa #rapidœœœ# œfingeredœ ‰ scale& givesœ™ a gliss-likeœ gliss mustc rbeesc .&on a œ™ œ o œ œ™ sul œGœ#œœ > o> J o o o œ œ sonority (especially when written forœ #massedœœ#œ strings).> > o o Bœ specific string œ . o o œ œ œ œbœ f ‰ pp œ f #œ œ Ly - rics o œ &pp cre.scœ. bœf œbœ œ j & œ & œ œbWhenœ the gliss is downwards,‰ and crosses overœ one of the #jœ> œœ™ œ œbœ œbœ œ œ œ. & œbœ œbœ j &pp œ f o& œ œ & œ#œœ#œœ 3‰ 3 open strings’œ pitch,œbœ youœbœ mustœ indicate which stringj >su lthe G glisso ûo Bœ œ™ œ. œ#œœ#œœœ#œ J should be played on — i.e. the string the lowest3 noteœ has™3 œo toœ œ œ œœ ‰ & œ œo o œ & Ly - rics .œ#œœ#œ be played on. œ™ œ#œœœ#œ J œ œbœ ‰ œ œ#suœl A #œ œ sul D & œbœ œbœ œ j & œ & sul D ^ sul G . sul A œbœ œbœ Ly - rics œ . œ r . O œ sul D . sul G o o œ sul D ^ 3 3 sul G #œ œO. #Oo ‰œ™BœŒ O ‰™ R ‰™ . r &. sul G o B&œo #O o o #œo œœ œ&. R #O #œ œ #O ‰™ Œ ü Oœ œ‰b™œ R ‰™œ. o o œ‰ # ˙ œ #œO œ & & #O # œ & & R œ#bOœ œbœoœ o œ œ j & œ œ . & sul A œ suœlb Dœ œbœ œ œ . sul D # ˙ œ ^ O œ . 3 #œ3 œ . œ . & œbœ œbœr œbœ œ j ‰ sul G . & œ O & Glissandi#œ up œ or down the natural harmonic#O series‰™ Œ areœb œ œbœ œ O ‰™ R ‰™ œ. &possible: notate thisœ either with& a diamond#O notehead# œ or by & R #O 3 3 writing out the sounding. pitches with# a ˙harmonic circle above ü sulO A sul D them. œ sul D ^ sul G . sul A . r sul D . O sul D #œ œ ^ #sOul G™ . O ™ R ™ œ . & r & #O # œ ‰ . Œ &O R ‰ #O ‰ #œ œ #O œ.‰™ Œ # ˙ O ‰™ RO‰™ False harmonic glissandi are possible,& though this œ can & #O # œ & R #O create the so-called ‘seagull’ effect if it is large. . ü # ˙ O (colour tr.) breath only key slaps tongue ram Ÿ~~~~~~~~~~~ ord. ¿ & ‰ & ¿ ¿ ¿ ≈ Œ & ˙ œ œ ‰ Œ FLUTTER- ) ) ) ) ) ) ) ) ) ) œ >>>>¿ ¿ ¿#- - - - J >> - >>> >> >> This effect requires the performer to ‘flutter’ their tongue, as in a sustained,p rolledf f ‘rrrrr’.p Not all performers can do this! Check first before requiring them to do so. fl˙z. œ^ Notation: put fl. or flz. above note, and add a 3-pronged æ R ‰™ Œ ∑ ∑ tremolo marking through stem. ü & & & p sffz WOODWIND FLUTTER-TONGUING Flute/piccolo: Possible at all dynamic ranges for the note (though usually softest dynamic is a shade above softest dynamic with normal playing). Oboe: may be possible, extremely performer-dependent. Clarinet/Bass clt: Requires mf–fff dynamic range. Some clarinetists can’t do it, so check with your performer. ‘Dirties’ the tone much more than flute’s fluttertongue. ‘Growling’ may be an appropriate substitution if flutter-tonguing not possible. Bassoon: apparently this is possible, but check with your performer. Saxophone: possible at mf-fff dynamic range. Some performers find it difficult.

BRASS FLUTTER-TONGUING Possible at most dynamics. ‘Buzzes’ the tone in an interesting way.

MICROTONES The standard microtonal notations are as follows (for equal-tempered quarter-tones): Quartertone flat: B Quartertone sharp: µ Microtones on woodwind can be created either through alternative fingerings or by bending the pitch with the embouchure. If the microtone is indicated as a pitch bend, then embouchure is best, but if the note is intended as a stable microtonal pitch then using an alternative fingering is best, if available. Most performers never learn microtonal fingerings and find them very challenging to play, especially at speed. The more accommodating performers are happy to play them and to work out the fingerings themselves, as long as they are not used in great abundance or in rapid figures. Nearly all performers will get stressed out if you give them too many, however. Only the most advanced international contemporary performers can play microtones with great fluency and at speed: this takes a lot of practice, however.

NZSM Guide to Music Notation 2018 21 WIND MICROTONES Flute/piccolo: possible on most notes, except lowest 5 or 6 semitones, and one or two others. Fingered or bent. œ Oboe/cor anglais: possible on most notes, except lowest 5 or so semitones. Fingered. œ. or bent. ” œ œ œ - - œ. ” œ “” “. œ œ “ œ œ . Clarinet/bass clarinet: possible on most notes, except lowest 5 semitones,œ œ and the 5 orœ soœ. œ œ œ œ œ- œ- œ semitones near the break (fingered B , B, C, C , D). There are some& auxiliary key possibilities& for & & these, but check with your performer first.f s Bassoon/contrabassoon: possible on most notes, except lowest few semitones. Saxophone: possible on most notes, except lowest 6 semitones. Fingered or bent. . . œ œ œ - - . Allegro q=120 BRASS MICROTONES œ œ ” “” œ. œ. œ. œ. œ œ. œ. >œ œ “”œ. œ. œ. œ. œ . . > “. . œ œ œ ˙ œ œ œ - -œ.œ œ ˙ j œ œ œ œ œ œ& & œ œ œ œ & Œ ‰ œ œ Horn: possible on all notes with bending. Also has some naturally occurring quartertones as part of œ œ > > the harmonic series. A chart of& fingerings and pitches& is here: bit.ly/1jRAvJ5Alle g&ro & pizz > > Trumpet: Possible, though ‘faked’ through half-valving, so avoid fast runs with microtones. Trombone: Slide allows for continuous microtonal detuning. Difficult to incorporate microtones in fast runs because of ‘approximation’ effect. pizz. pp > > . . . . All.eg.rŒo. q.=120 ‰ j j œ™ œ j œ™ œ Tuba: Possible through half-valvingœ œ andœ œharmonicœ œ œ. œ .series,>˙ but avoid fast&œ runs.œ œ œ œ œœœ. œ. >˙œ œ & œ™ œ jœ & œ™ œ œ > > > Œ ‰ œ & & > & œ œ pp f HARP MICROTONES cœresc. > >f Allegro pizz > > Possible by flattening a string a quartertone lower. Note that the detuned string must remain detuned for the entire piece. Do not detune too many strings on the harp, if that harp is to be used for other works in the same concert. pp > f pizz. j œ™ œ œ Microtonal ‘tuning key glisses’ are possible — see ‘glissandi’. p&p œ> œ & > œ#œœ#œœ ‰ Œ ‰ j œ™ j œ™ œ œ#œœ#œj œœ#œœ™ œ J & œ œ œ & œ™ œ œ & œ™ œ œ PIANO MICROTONES œ > > > Ly - rics > f pp f Not possible without detuning the piano, which is unlikely to be allowedcresc. in most situations. The easiest solution is to use a sampled piano. o sul G o œo Bœ PERCUSSION MICROTONES pp f o o œo œ œ j > œ™ œ œ œ œ #œ. œ Difficult on most instruments, unless theyœ can be flexed or dipped in& waterœ b forœ œ indeterminatebœœ#œœbœœ ‰ pitch j ‰ & œ & & œ™ œ & œ#œœ#œœœ#œœ#œ œJ œbœ œbœ œ œ changes. If you want true microtonal percussion, you’ll need custom-built instruments. 3 3 . Ly - rics STRING MICROTONES Possible for non-amateurs, and best for solo strings — getting an entire to play a microtone in tune is really difficult, even for professional orchestras (believe me, I’ve tried).o Solo sul Asul G o œo Bœ ^ sul D strings, however, like a string quartet or chamber ensemble, seem muchœ moreo. o successful.œosul œD Always œ . r sul G . O. check your performers are OK withœ it first. Fast changes of microtones are very# difficultœœ œ for performers #œ #Oœ ™ O ™ R ™ & œbœ œbœ œbœ j ‰ & & œ && # œ ‰ Œ & ‰ ‰ who have not trained in microtonal performance œ(i.e.œb whoœ œb haveœ œ not practiced microtonal œscales. and ##˙O œ. R #O ). 3 3 O

NOISE EFFECTS breath only key slaps tongue ram sul A ord. sul D œ sul D ^ sul G ¿ . . & r ‰ . & ¿ O¿ ¿ ≈ Œ & ∑ Breath sounds can be indicated in a number#œ œ of ways. Many )#)O)‰)™ )Œ) ) ) ) ) œ O ‰™ > > >R >‰™>¿ ¿ ¿#- - - - composers replace the notehead & with a hollow squareœ and an& ü#O # œ > >& - R #O > > > > > > indication ‘breath only’. You can also put a large hollow circle. at the # ˙ p ff pO start of the breathy section, and a filled-in circle at the end.

Percussive noise effects (slap-tongue on single-reeds, key-clicks breath only key slaps tongue ram on winds, damped piano strings, tapping on body of stringor d. ¿ instrument, etc) are indicated with& either a cross notehead ‰ or a & ¿ ¿ ¿ ≈ Œ & ∑ ) ) ) ) ) ) ) ) ) ) œ > > > > ¿ ¿ ¿#- - - - cross through the stem, and a note either on the score> or> in an- ü > > > > > > > explanatory preface to explain the desiredp effect. Tonguef frams onp flute have been standardized as down-pointing triangle noteheads

NZSM Guide to Music Notation 2018 22 APPENDIX

MUSICAL EXAMPLES

Example of solo score (single staff) ...... Atsinganos by Helen Bowater Example of solo score (grand staff) ...... Nine Short Pieces by Douglas Lilburn Example of small chamber ensemble...... Phantasy by Douglas Lilburn Example of choral score ...... Five Lullabies by Jack Body Example of small orchestra ...... Meditations on Michelangelo by Jack Body Example of large orchestra (shared staves) ...... Melodies for Orchestra by Jack Body Example of large orchestra (individual staves) ...... Claro by Michael Norris Example of orchestral part (with divisi) ...... Claro by Michael Norris (Violin II)

All samples © Wai-te-ata Music Press. Typesetting Alistair Gilkison

NZSM Guide to Music Notation 2018 23 Atsinganos for solo violin HELEN BOWATER q = 76 mf f

7 3 3 mf mp

11 3 f

15 arco pizz. 3

mf 3 mf ff

6 19 LH pizz. 3 22 5 5 mp p mf

25 6 5 3 f mf

29 3 5 f 3 7 Nine Short Pieces for piano DOUGLAS LILBURN

h = c.69                          mp sf   mp mf f              pp  

7 f                 mf  f mp                  pp       13                        mf f mp sf                   pp    18  ff                 f    mf  mp               (pp)         23    p                           f sf  mp                        pp          28                     ff pp mp                       Phantasy for String Quartet Based on the air “Westron Wynde” (c.1500)

Westron Wynde when wilt thou blow? The small rain down doth rain. Christ, that my love were in my arms And I in my bed again. DOUGLAS LILBURN Moderato (q = c.58) con sord. Violin I          sf pp      pizz. Violin II                               p                con sord.   Viola         sf pp      pizz. Cello                                             p     

7 poco rit. A tempo                       p                                        p         p                        p                                       p  

13 A                                     sf     f                                          p                    mf                                             p

© Copyright 2015 Alexander Turnbull Library FIVE LULLABIES for choir JACK BODY I Liltingly q. = 144 ° p & œœ œ. ˙. œ œ ˙. ˙. œœ œ. ˙. œœ œ. ˙. Soprano bœ. bœ. bœ. bœ. Sha ba sa da ma sha sa ka da sha ba sa mp j j - - - ‰. œ j ‰. œ j ‰. œ j j j ‰. œ j j j Alto & œ œ œ œ ˙. œ œ œ œ œ. ˙. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. bata sa k’ra malasha b’ta kara da m’la sha ba bata sa k’ra da p œ œ. ˙. œ ˙. ˙. œ œ. ˙. œ œ. ˙. Tenor & bœ J bœ J bœ J bœ J ‹ Sha ta da la sa ra sha ta bp˙. œ. b˙. ˙. bœ. œ œ ˙. bœ œ. œ ˙. ? Œ. Œ. J J Bass ¢ Sha da sa la sha ra

°5 mp mf j - j œ œ ˙ j œ œ ˙ œ & œ œ œ ‰ œ œ . . Œ. ‰. œ œ œ œ. . ‰ œ. bœ. J œ ma la ka r’da ba ta sa ka la sha ma j mfr j - ‰. j œ œ. œ Œ. Œ ≈ j ‰. j œ & œ œ œ œ J œ ˙. œ. œ œ œ œ. œ œ œ œ ˙. la sha ba t’sa ma ra da ma ba ta sa k’ra da mp mf œ ˙. œ œ ˙. œ. > œ. œ ˙. œ & bœ J ‰ Œ. ‰ bœ Œ. bœ J J Œ ‹ ma sha ma la ka da sha ta mp - mf b˙ ˙ œ œ- œ œ. b>œ b>˙ ? . . J ...... ¢ J Œ Œ Œ Œ Œ Œ ma sha ba sha sha

7 mf - mp ° j - - j j j mf j & œ œ œ. œ ‰ ‰. œ œ œ. œ bœ œ œ œ œ. œ. Œ. œ nœ bœ. bœ œ œ œ la sha ta da ma la sha ba ta ka ra ma ta ka ra mf j - - j - mf & ‰. œ œ œ œ œ. œ œ œ. Œ œ. œ bœ. œ. œ ‰ j Œ œ œ œ œ J œ œ œ sha ba ta sa ka ra ma ta sa ra da ma la ta sa œ œ. œ œ. mf j œ- œ. & bœ J Œ Œ. Œ. Œ. Œ Œ. Œ bœ œ J Œ. Œ ‹ la ba la sha ba b>œ. œ œ œ b>œ œ œ œ. œ. mpb>œ œ. œ ? . . . . ¢ J ‰ Œ Œ Œ Œ J J Œ Œ Œ la sa da sha sha

2 © Copyright 2005 by Jack Body Meditations on Michelangelo

I JACK BODY ( S’un casto amor, s’una pietà superna ) Restless (q = 60)  Solo Violin                        div. f 3 con sord. Violin I                div. mp p mp p sim.    con sord. Violin II                mp p mp p sim.    con sord. Viola                mp p mp p sim. sul pont.     Cello                p p p pizz. sul A D. Bass                   f     5 Solo                                   3 3

Vn I                      Vn II                         Vla             Vc            p p

Db                  

9 Solo                   3            3        Vn I                      Vn II                            Vla         

Vc        

Db                  

2 MELODIES FOR ORCHESTRA JACK BODY Con Fuoco q = 132

Piccolo      

1 Flute  2     

1 Oboe  2     

1 Bb Clarinet  2     

1 Bassoon 2        1   2      F Horn 3  4     

D Trumpet      

1 C Trumpet  2     

1 Trombone   2    

Bass Trombone     

Tuba       

Glockenspiel      

Xylophone      

     Harp     

      Piano     

Con Fuoco q = 132                                                                     2 Solo Violins ff                                                        ff

Violin I     

Violin II      

Viola      

Violoncello     

Double Bass       

© Copyright 2005 by Jack Body

(q = 78) poco rit. Flute 1            

Flute 2   (+ Picc.)         

Oboe           

Cor Anglais             Bb Clarinet 1            Bb Clarinet 2          

Bassoon 1             Bassoon 2           

1 F Horn    2         

3 F Horn   4         

1 C Trumpet   2         

1 Trombone    2        

Bass Trombone             Tuba           

Timpani            CROTALES  CROTALES                          VIBRAPHONE (motor off) p    Percussion (medium rubber mallets)                        Ped. mp                                               mp  mp  Piano mf            

 o o  o o o o o                                        Harp mf f            

poco rit. (q = 78)     pizz.                            mp div. mf Violin I pizz.  arco                      mp     p   pizz.                                 mp Violin II div. mf pizz.  arco III                        mp p  mp pizz.   arco II                           mp mf Viola div. mp               p pp pizz.                 mf Cello div.               p pp  D. Bass            © Copyright 2015 by Michael Norris VIOLIN II CLARO MICHAEL NORRIS (q = 78) pizz.                                div. mp mf pizz.  arco                      mp  p  A tempo 7 o 3 molto rit. poco rit. pizz.                                  mf  p   mf III pizz. arco 3                       pp  mp p  A Poco meno mosso (q = 72) unis. Tempo I ( = 78) 13 o o  q pizz.                                         p  mf   A tempo (q = 78) 17 poco accel. (q = 84) rit. B                                     (pizz.)      mf f 22    arco                            mf f mf f ppp mp  div.                                       mf f mf f mf

27 rit. C A tempo pizz.                         mf     ppp mp                                32 arco poco accel.  pizz. Più mosso (q = 84)  III            pp  mf arco    pizz.                      pp mf D CMPO Major Assignment checklist — for your personal use

SCORE □ Score is neatly handwritten and photocopied or printed using good quality laser printer □ Score has: a title page, a list of instruments used (for ensemble/orchestra), explanation of non-standard techniques, title, name, course code, date, © notice, tempo □ All instruments appear on first system, even if not playing [except doubling instruments] □ If using transposing instruments, score is transposed □ Both full and abbreviated staff names have instrument numbers where appropriate (e.g. Flute I, II / Fl. I, II). If solo piece, the instrument name is included as part of the title (e.g. “Monologue for solo clarinet”), not next to the staves. □ Score presented double-sided and bound □ Standard music font & text font used

PARTS (IF REQUESTED) □ On first page of each part: Instrument name at top-left, name of piece at top-centre, composer and arranger at top-right □ Cues given after periods of long, unbroken rests (e.g. 15 or more bars) in parts □ Parts printed using high quality laser printer □ Parts presented single-sided, unbound, paper-clipped together Orchestral parts: □ Exactly one exclusive part per player for each wind, brass, keyboard, timpani and harp. [NB: doubling instruments still only get one part, with both instruments incorporated into the part.] □ One part per section for strings & percussion (excluding timpani).

GENERAL PRESENTATION □ Rehearsal letters given, c. every 10-20 bars, at important points in the music □ Bar numbers at beginning of each system (except first) in both score and parts

GENERAL MUSICAL CORRECTNESS □ Accidentals spelled intelligently □ Beaming checked □ Ample time [at least 6 seconds] given for instrument changes & mute changes □ Automatic transposition facility used. ‘Atonal’ key signature used, where appropriate. □ Appropriate phrasing (slurring/bowing), dynamics and articulation added where necessary □ Correct clefs used: Bassoon/cbn [bass & tenor only] Horn [treble almost always; bass very rarely] Tbn & tuba [bass & tenor only; treble very rarely] Viola [alto & treble only] Cello & bass [bass, tenor & treble only] Keyboards/harp/pitched perc [treble & bass only] Timpani [bass only] • Unpitched perc [percussion clef] All others [treble only]